Time can be cruel. The second feature of Norwegian director Christopher Borgley, Seek of MyselfRuben Ostlund is unfortunate to be in the section of the Un-Certain Regard at the Slipstream Cannes Film Festival The triangle of sorrow; The latter is a broad, innocent but much more brutal dissection of class and culture. Seek of Myself Will have to contend with the unexpected longevity of fellow Joachim Trier’s injury The worst person in the worldWhich went from the Cannes competition to the Oscars last year.

The net result is despite another great, bold central performance Ninjabi Star Christine Kujath Thorpe, Seek of Myself It will not attract the attention of previous years, which is a shame because there are some interesting ideas in the mix and some dark smiles are needed.

Thorpe plays Signe, a young woman whose boyfriend, Thomas (Eric Sether), is a conceptual artist with Kleptomania next to him (in the film’s somewhat confusing opening scene, we see the couple conspiring to steal a very expensive wine bottle from a restaurant). The two are fighting, and Signy works in a coffee shop where the world of everyday work is suddenly shattered when a female customer is bitten by a barbarian dog. Signy comes to her rescue and goes home stunned, still covered in another woman’s blood. It has been subtly revealed, but the attention he gets – the police, the ones he sidesteps, and later the media – sows a seed.

Later, when Thomas unexpectedly became a rising art star through his bizarre compositions, some of which were made from stolen furniture, Signy attended a fancy dinner in his honor.

Uncomfortable with the fact that Thomas is in the spotlight and no one is listening to his efforts at the party discussion, Signie is affected by a nut allergy. The anxiety shown to him prompts him to take it further, and while Thomas is trying to give a heartfelt speech, he forges anaphylactic shock and steals his lightning.

This moment is the catalyst for what will happen next: after reading about a flashy Russian mood-altering drug called Lidex, which is associated with a mysterious meat-eating dermatitis, Signe orders boxes and boxes of supplies with complete knowledge of the drug. Harmful aspects.

There’s a really good foundation for Jet Black Satire here, and Thorpe specializes in the upper half of the film, a popping pill in a scene that shows off his effortless skill for silly physical comedy. There is a slight hint of this War Club Saigon’s run downhill that echoes the film’s pleasantly distorted embrace of nihilism, and – it’s a stretched, admittedly – even touching John Waters’ desperate living in Saigon’s unbridled pride when he becomes a tabloid star and even a fashion model.

But somehow, Seek of Myself Flowers never bloom; Signe and Thomas simply become entangled in a toxic co-dependent relationship that somehow carries no matter what, and Thorpe’s expressive face begins to disappear beneath the confusing layer of latex.

Fun comes from Saigon’s brazen narcissism, and his confusing fantasy scenes really lift the film when it gets a bit rough (at best involving an in-jockey cameo by Anders Danielson Lai as a Deadpan Doctor). However, this is not enough to justify spending 90 minutes in the company of these people, and Borgley seems to have an ending that really feels like wrapping things up nicely without doing anything.

There are two very interesting stories going on here; One is an unpleasant farce on society, the media and the victim celebrities, the other is a gentle portrait of a sad, lonely woman who will do anything to make the viewer feel. But there is a gap in the middle — and what is missing here is fixed, not what is there.

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