Odd Einar Ingebretsen on Black (And White) Humor of Haugesund Closing Film ‘Enough,’ About a Mother Who Breaks up With Her Daughter

As a movie lover with a penchant for character-driven dramas that delve into the complexities of human relationships, I find “Enough” intriguing. The film’s black-and-white aesthetic and its confinement within one house evoke a sense of intimacy that resonates with me, reminiscent of classics like Louis Malle’s “My Dinner with Andre” or Richard Linklater’s “Before” trilogy.

In Haugesund’s closing film “Enough,” a mother decides to break up with her grown-up daughter.

Norwegian director Odd Einar Ingebretsen, prior to the film’s world premiere at the festival, shared his thoughts on a comment made during test screenings: “Someone said, ‘This woman is a psychopath!’ However, I beg to differ. Her actions may appear extreme, but the movie delves into their complex relationship. It’s possible that her seemingly harmful acts are actually attempts to aid her child.”

“It seems to me that the dynamic might be distinct if it were between a father and a son. Typically, we associate maternal love with an overwhelming emotion. It’s often portrayed as something powerful enough to conquer nearly everything. However, her points are logically sound, although they tend to repeat themselves.”

In the understated black-and-white film directed by Cecilie Semec and penned by Per Schreiner, we find thirty-something Pia, portrayed by Ine Marie Wilmann, making frequent visits to her mother, Anneke von der Lippe. However, it’s revealed that these visits might be more than just regular check-ins.

I’ve been truly appreciative for the support you offered after my dad left and our divorce reshaped everything. Now, however, Mom seems to be encouraging me to step away from our past and concentrate on my own path. Frankly, she admits that her life hasn’t exactly flourished since then.

“Ingebretsen notes that the dialogue in his film isn’t typical everyday conversation, and it can come across as blunt. However, there’s a darkly humorous aspect to it too, although it’s more subtle than overt. That’s his choice for the setting of his debut feature – almost entirely within one house,” says Ingebretsen.

“It makes you feel closer to them,” he notices.

As a cinema enthusiast, I’ve always found Louis Malle’s “My Dinner with Andre” and Richard Linklater’s “Before” trilogy deeply inspiring. It might sound like a worn-out sentiment, but I truly adore Ingmar Bergman, and my friend Per and I both hold a profound respect for the works of British playwright Harold Pinter. I believe that Pinter and Per have an exceptional knack for portraying characters who grapple with communication difficulties or other obstacles they can’t seem to overcome.

As a devoted cinephile, I had the pleasure of witnessing a masterpiece crafted by Ingebretsen and Schreiner through their production house, Odd og Per Film. This heartfelt creation aimed to weave together the everyday struggles of a family with an unsettling undercurrent, subtly hinting at a looming disintegration within the household.

His characters struggle to convey genuine rage or warmth, as they seldom show affection – “They don’t often hug,” he notes – yet he refrained from passing judgment on them.

As a more empathetic storyteller might approach this film, I acknowledge that I’m not one for confrontation. That’s just not my style. There’s a certain detachment in Per’s writing that resonates with me, as if they too are maintaining a distance. This is how I perceive their communication.

“During every step of this journey, they seemed genuinely human to me. They’re intricate characters, and I hope that after watching the movie, viewers will be left questioning their perspectives. That would bring me joy, as it becomes unclear who among us might be considered ‘crazy’.”

2024-08-23 19:47

Odd Einar Ingebretsen on Black (And White) Humor of Haugesund Closing Film ‘Enough,’ About a Mother Who Breaks up With Her Daughter

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