‘Sex’ Review: Masculinity Loosens Up in the First Chapter of Dag Johan Haugerud’s Arthouse Trilogy

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As a cinephile, I found myself captivated by Dag Johan Haugerud’s “Sex,” a film that playfully subverts the common assumption about men’s preoccupations with its provocative title. While sexual themes are indeed present throughout this intricate exploration of character, they appear in ways that are consistently fresh and free from stereotypes.

The narrative follows two straight male colleagues as they delve into their recent personal experiences that have caused them to question their own sexual and gender identities. Haugerud’s clever comedy masterfully tackles the complexities of modern masculinity with a gentle, empathetic approach, finding more compassion than judgment in its ordinary characters.

In doing so, it presents various contemporary struggles of masculinity as commonplace issues rather than toxic ones. The film also argues that unconventional desires and impulses are not aberrant but rather everyday occurrences in the lives of ordinary people.

Haugerud’s film “Sex,” with its casual, novelistic style and laid-back, non-dramatic take on subjects often portrayed with intense passion on screen, establishes a distinctive tone for his trilogy exploring contemporary Norwegian human relationships and intimacy. The first film in the series debuted last year at Berlinale’s Panorama sidebar, followed by “Love” gaining prominence in Venice’s competition. “Dreams,” the final installment, will be presented in Berlin’s competition this month, allowing distributors to decide on the optimal release strategy for these unique yet relatable films. Strand Releasing has acquired the trilogy for distribution in the U.S., and while each film can be watched independently, they all share common themes and viewpoints that enrich the overall experience.

The movie “Sex” starts off with an intriguing plot twist presented right away in a therapy-like dialogue setting. Instead of a therapist, it’s revealed that the listener is just a sympathetic coworker (played by Jan Gunnar Roise) from the same chimney-sweeping company where the main character (Thorbjorn Harr) works as a supervisor. In this ordinary office environment, the man tells an extended story about a peculiar dream that’s been stuck in his mind. He describes meeting a figure resembling David Bowie, who eventually reveals to him that he sees him as a woman. The camera gradually pans to show the listener, emphasizing the unexpected twist. Both characters are portrayed as ordinary men of a certain age without being explicitly named throughout the film, while other characters such as their children are given names. This creates an impression that they represent typical men in this demographic.

Instead of the rough banter you’d anticipate, the coworker responds to this disclosure about subconscious gender questioning with tender compassion. This is not surprising, given that he has a secret of his own to share. The day before, he was cleaning a client’s chimney when the client made an unexpected proposition. At first, he declined and left, but later reconsidered, returning to the client’s house and experiencing a casual, non-committal afternoon encounter. For this chimney sweep, a straight, middle-aged married man, it was the first time he had ever strayed from his marriage; moreover, it was also the first time he had been intimate with a man. This entire experience is so unique to him that he doesn’t even consider it an act of infidelity. As soon as he gets home, he confides in his wife (Siri Forberg), who understandably sees things differently.

This incident and its aftermath, coupled with his supervisor’s simultaneous discovery of hidden femininity, result in a multi-layered examination of how men yearn to be perceived, desired, and understood in a society that continues to prioritize their dominant gaze. The chimney sweep remains certain of his heterosexuality following the queer encounter, assuring his bewildered spouse, “One beer doesn’t make me an alcoholic.” However, he experiences a thrill from being desired in such an unconventional manner, as a family man and conventional society member. In contrast, the other individual experiences a liberation from traditional masculine norms and self-perception, evidenced by his growing freedom expressed in his active participation in a local choir following his initially disorienting dreams.

Haugerud’s work is both insightful and rich in significant concepts, yet it playfully deviates into whimsical detours and amusing anecdotes – some of which reinforce the central themes, while others serve to underscore human quirks in general. What stands out most is his uncanny ability to accept his characters as they are, without imposing judgment or sarcastic commentary on their actions. In essence, the world portrayed in “Sex” can be seen as a Scandinavian utopia – beautifully captured by DP Cecilie Semec with an ever-present soft luminosity – where men are free to explore their sexual and psychological selves without encountering hostile prejudice or limiting stereotypes from the outside world, save for some tastefully managed domestic disputes. To some viewers, this may seem more progressive or even surreal, but to others, it offers an alluring exploration of possibilities. It’s a thought-provoking and intriguing examination, indeed a bodily experiment, that might be seen as surprising by some.

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2025-02-14 03:47