The dynamics between students and teachers can also be a kind of privacy, even if conducted in the most appropriate form, we spend too much time with educators and rely so much on their attention and recognition that this Relationships can develop into rapid disgust or quasi-family emotions – either way, people usually remember longer than anything they teach us.

For the naive 17-year-old Ellaøverbye, the intimacy with her new teacher, Johanna (Selome Emnettu), begins with the similarity of their names, and then her emotional bond between them becomes more profound. Maybe she didn't project at all. Dag Johan Haugerud's "Dag" has complex shadows and insensitive sensitivity to a turbulent subject than ever before.

Haugerud's slight touch for Heart heart is no surprise in "Dreams", the final part of the novelist's transformation into Filmmaker's film trilogy, which examines romance and intimacy in contemporary Norway. The first two “sex” and “love” are also characterized by simultaneous restraint and nonjudgmental candidity, who portray humans urging humans to urge maturity to receive more sensational treatment. But this impossible delicacy is twice as good as a “dream,” the only adult story of the three and the only one centered on female desires. (Until the late appearance of the key character in "Love", which represents a rare connective thread between these originally independent works, and there is no one on the screen here.)

As it suggests in the title "Sex Love" on the collective screen, "Dream" is actually the second part of the trilogy, although the change in festival selection makes it the last of the international premiere Ministry-In the Berlin competition. "Sex" is unsaturated in the same festival on the lower panoramic sidebar for a full year. This promotion to status shows that Haugerud has accumulated interest and admiration for highly unique projects over the year as it provides publishers with the option to release plans.

However, "Dreams" feel like a potential breakthrough title: the most susceptible and least narrative of the three spreads, with a warm, specific melancholy melancholy that makes the Norwegian title "The Worst in the World" People” shot. An Arthouse hit. (The matte scrub of Cecilie Semec's lens, the cold pastel further distinguishes the film from the elastic flavor of its predecessors.)

"My life is in the cloud." As the voiceover played throughout the film begins, Johanne muses - once we realize she is reading a regretful first-person text, it is usually a literary quality of fantasy. . Before writing them, she saw her feelings as elusive and invisible, unreadable to anyone except herself--though, like many of her age, she was in the reserve of secrets and the sleeves of her heart Fragility oscillates wildly between vulnerabilities. So far, romantic love is something Johanna knows only through classic literature, but when she first walked into Johanna’s classroom, she immediately felt it: “I can feel her through my body. There is,” she said. Obsession only intensifies from there.

Johanna herself is young and beautiful, fostering a casual, friendly rapport with her students: Johanne's obsession is not surprising, though it confuses her. Later, when her single mother, Ane dahl Torp, tried to open up, she became brainy and disgusted with defining herself based on a single, despite an earthquake, experience. She found that the best way to understand it was to write it down: not in the form of a messy diary, but as the protagonist as the lyrical prose.

How much of the detailed novella that emerges from her heartache is truth, fantasy is hard to measure, especially once Johanne makes a bold move to reveal itself in her teacher's home - with extra The guise is a reminder of a series of friendly Hangouts - a class knitting class, which is something that is believed by Bate's girl to bring more. For most of the film, Johanna could only see through the eyes of her students, we think, perhaps modestly, that delusions are working.

However, with Haugerud's twist, the clear script cleverly expanded to include other views, including those of Christine, the poet-grandmother of John's liberal poet, Anne Marit Jacobsen, and ultimately Johanna's own - Picture Change Be vague and rich. Did Johanna deliberately use her young accusations, or did she skillfully try not to hurt her? Was Johanne misleading himself or was the only one who saw something out there? Øverbye (an already promising presence in Haugerud's 2019 film "Beware of Children") keeps all these possibilities behind the character's soft, curious Mien, making all of them persist.

Staying away from Johanne's turbulent inner life, her writing also sows tensions between her elders, Karin sees and appreciates its enormous literary value, while Kristin Only read a series of increasingly shocking revelations about your daughter. The ensuing driving force between them finally reaches the most lively scene in the film, a beautiful excavation over decades that includes the stinging point of everything, the feminist merits of “Flashdance” ( or).

Haugerud's writing is always surprising and resilient as it picks out common insecurities between three generations of women and makes up for ideological differences - but retains the most glaring sympathy for the youngest of them. Heart. Just as Johanne's precocious writer learned to enjoy strange shapes and broken hearts, her impetuous girl swore in her agility that she would never love this way again. She might be right. But "Dream" makes her like us, except for having a lot of feelings.