Stars Reveal Secrets Behind Canneseries’ ‘A Better Man’ Teaser

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The show “A Better Man,” supported by Norway’s NRK, known for its daring productions, unveiled its initial trailer, offering a glimpse into the foundation of one of the most highly anticipated series premiering this weekend at Canneseries competition.

Created by Maipo (“The Crossing”), the award-winning producer from Canneseries’ inaugural edition with “State of Happiness,” stands out once again – as do several other series to be showcased at Canneseries from April 24-29 – for its significant themes. It delves into Internet trolling, cancel culture, and societal perceptions of masculinity, among other pertinent topics. Notably shorter than many series, it comprises only four episodes. However, its weighty subjects are enveloped within a gripping social survival tale. Above all, it’s known for being poignant as well.

Beta Films, responsible for global distribution, recently released a sneak peek that outlines the fundamental structure of the upcoming miniseries.

Does everyone know what the tissue surrounding the penis is commonly referred to?” comedian Live Steensvaag queries her packed audience during the opening act of her show.

She replies, “A man,” which elicits a chuckle from Live, and stirs up Tom’s irritation. To Tom, a middle-aged, overweight man with a biblical beard, working in his mother’s clothing store, Live symbolizes everything he dislikes about contemporary Norway.

He says to her on social media, ‘You’re the least amusing computer woman in all of Norway,’ after she admits she came close to being raped once. ‘I’ll finish your almost rape for the country. Look for me in the audience; I’m the one not laughing,’ Tom implies.”

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“He tells her on social media, ‘You’re the least humorous PC lady from Norway,’ following her confession of nearly being raped. ‘I’ll complete your almost rape experience for the country’s benefit. Find me in the audience; I won’t be laughing,’ Tom insinuates.

After hackers exposed Live during a TV talk show by revealing his private information like his online browsing history on adult websites, Tom found himself too frightened to go outside. In a desperate attempt to blend in, he grabbed the first things he could find from his mother’s store – a wig and some women’s clothing – using them as a disguise. Pretending to be a woman, he discovered that the world became more welcoming, and he started walking down a path towards redemption.

According to director Thomas Seeberg Torjussen (“ZombieLars,” “Kuppel 16”), as shared with EbMaster, that road is like a thrilling roller coaster ride. In the story, Tom, dressed as a woman, experiences some of the violence he inflicted in Live as Live. When Tom mysteriously vanishes from sight, the character becomes concerned that she may have unknowingly pushed him to take his own life while searching for him.

Throughout its journey, the show offers insightful clarification as to why individuals transform into internet bullies, as well as potential methods for curbing such behavior.

In partnership with Artbox, I’m proud to say that the captivating series “A Better Man” has been supported not just by NRK, but also by ZDFneo – a channel catering to a youthful audience.

On the 27th of April, I had the pleasure of attending the Canneseries festival where “A Better Man” was unveiled. This captivating production features Anders Baasmo, who charmed audiences in “Kon Tiki” and the popular Netflix series “La Palma.” Additionally, Ingrid Giæver graced our screens in Dag Johan Haugerud’s 2025 Berlin Golden Bear winner, “Dreams (Sex Love).” I can hardly wait to see this promising collaboration!

Leading up to the world premiere of “A Better Man,” the cast and crew delved into the complexities of their roles, critiqued the show’s portrayal of internet trolling, discussed why Norwegian broadcaster NRK continues to produce successful shows. Creator-director Torjussen shared his insights on the origins of trolling, and he along with producer Christian Fredrik Martin (also known as “Kifrik”) highlighted some notable accomplishments of Norway’s NRK.

Anders, it seems to me that your part in this production might have been quite complex, given that Tom undergoes not just one, but two changes, dressing as a woman and then undergoing a significant personal change. Do you concur with this assessment? If so, could you share some insights about the specific physical challenges associated with these transformations?

Anders Baasmo: I completely concur, this role is among the most demanding I’ve taken on. Yet, when the writing is exceptional, as it is here, it becomes less daunting overall. Conversely, bringing authenticity to subpar scripts is much more challenging. My transformation into the character unfolded progressively, mirroring his own development. We labeled them Berit 1.0 (in the 2nd episode) and Berit 2.0 (in the 3rd episode), and I found that playing Berit 2.0 was more straightforward – more effortless in expressing the physical aspects of the character – than Berit 1.0. I believe this is because the character became more confident and complete as he evolved. Similarly, Tom’s insecurity at the beginning of his journey contrasts sharply with his final state, and this is reflected in his physical performance. Once I understood and defined his journey, the physical transformation occurred naturally. And once again, a good script plays a crucial role in this process.

I believe Life’s most significant accomplishment within this series could lie in its attempt to delve into and empathize with Tom, given the context of a divided society. In essence, it strives to grasp the complexities of those considered “different,” in a world grappling with extreme polarization.

Ingrid Unner Giæver: Indeed, it seems that Live shifts from an initially general and angry (yet relatable) ‘how could you’ to a heartfelt and compassionate ‘why’ and ‘how are you feeling’?

Perhaps the biggest hurdle you faced, Anders, was to make viewers care about and emotionally connect with your character. This requires strong writing, but did any elements of your acting contribute to fostering that connection as well?

One crucial aspect of acting, and the first step when working on a role, is creating a strong foundation for the character by understanding why he behaves as he does. This doesn’t necessarily mean justifying his actions if they are wrong, but rather finding a relatable motivation that makes it clear how he ended up in this situation and then defending him from there. In essence, I act as a defense attorney for the character. The script is always paramount, as I often say; everything starts with it. I look for clues or connections to the character that make sense to me, such as lines spoken by his mother or certain reactions, and of course his thoughts and words. By following this path and adding depth to it, I bring the character to life, making him a real person. Throughout my career, I’ve had a knack for eliciting sympathy from the audience, even when my characters have done bad things. I don’t know why, but it could be due to the method described above, or perhaps because I’m inherently compassionate, or simply because of my cute baby face;-)

And what were the biggest challenges for you, Ingrid, playing Live?

The main hurdle I faced was meeting my own high expectations. With such a distinctive and captivating script, having Thomas as the director, and everyone else being incredibly skilled, it’s a dream role. However, I was concerned about not living up to the excellence of the character that was so skillfully crafted.

In my opinion, the most significant aspect of this series is its exploration into the phenomenon of Internet trolling. This behavior in Tom’s case seems to stem from feelings of being unwanted and useless. However, as he experiences a sense of belonging and becomes valuable to others, he undergoes a positive transformation. Yet, there’s always a chance that I might be mistaken…

User: I concur with your thoughts. The series seems to delve into the concept of individuality within a progressively less interactive society. It’s evident that Tom is exceptionally cut off, but it appears that everyone, in general, engages less face-to-face with people and more with their devices. Interestingly, all three principal characters are striving to connect with someone, yearning for genuine dialogue.

I hope I’m correct! I believe everyone craves usefulness, being valued and desired by others. However, putting this into practice can be challenging. As a single urban white male, Tom doesn’t seem to have an apparent purpose, and it’s eating away at him daily. The online community he shares with like-minded individuals is a tragic alternative, but it’s all he has to begin with. Our aim was to create an engaging journey from hatred and solitude to connection and understanding.

You’ve hit the nail on the head! I stand by Thomas’s viewpoint. Escaping solitude and isolation can prove challenging, even more so in our digital age. I fervently hope that Thomas serves as a beacon of inspiration, demonstrating that there is indeed a path out of it. I am convinced that we all discover, at some point in our lives, that the most significant purpose lies not in self-absorption but in contributing value to others. (Just like Ibsen and Shakespeare have pondered before us;-)
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“‘A Better Man’ is produced by NRK. For years, NRK has been producing high-quality series, earning it a reputation as one of the most distinguished public broadcasters in Europe. Can we attribute this success or Norway’s rise as a production powerhouse, now comparable to Sweden and Denmark in terms of quality, to any specific reason?”

Torjussen observes that NRK often places trust in its creators, which is quite valuable to him. This trust, along with the artistic freedom it provides, feels equivalent to the financial investment made by NRK. Such trust enables a unique creative voice to emerge.

Christian Fredrik Martin: For NRK, drama productions are a major priority and a significant aspect of their brand. They’ve excelled at blending daring editorial decisions with high-quality drama production for a wide range of viewers. It seems that viewers have come to anticipate this from NRK amidst the abundance of dramas available today. I believe one key factor contributing to Norway’s prolonged success in both Scandinavian and global film and TV drama is their strategic, long-term investment in nurturing talent.

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2025-04-25 15:47