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AT THE SPA BEFORE THE STORM: Rudy Claes and Kathrine Thorborg Johansen in “Oslo – Copenhagen”. Photo: Nordisk Film Distribution
The Danish ship has been the scene of a coexistence crisis for many. Those from “Oslo – Copenhagen” put on the bardus.
DRAMA
“Oslo – Copenhagen”
Norway. Allowed for everyone. Director: Jan Vardøen
With: Rudy Claes, Kathrine Thorborg Johansen, Hallvard Holmen, Lars Berge
“Harry” meets the hipster in this camera drama set for the Danish ship, in the form of the couples Linn (Claes) / Ingar (Holmen) and Ingeborg (Thorborg Johansen) / Tom (Berge).
The ex-partner runs a company where Ingeborg works. The latter assumes that they have been invited because she will be promoted or fired. The cause should become, or evolve to become, quite another.
COMFORT IN THE CAB: Kathrine Thorborg Johansen and Lars Berge in “Oslo – Copenhagen”. Photo: Nordisk Film Distribusjon
Linn and Claes don’t have children, but they are constantly trying. Ingeborg and Tom have an eight-year-old son with “special needs” at home. These needs are usually covered by Tom. He is a sole proprietorship scholar and his area is “ethnic textile work”. This tells us in plain text that he, unlike the ambitious Ingeborg, hardly works.
But he has hobbies and interests! They are “elitist” enough to get on Ingar’s nerves. Tom makes his own IPA at home and explains, like another Bjørn Eidsvåg, how to store a good amarone. Ingar, a sensible man, thinks more about the percentage of alcohol.
THINKING ABOUT PERCENTAGE: Hallvard Holmen in “Oslo – Copenhagen”. Photo: Nordisk Film Distribusjon
Tom’s instructive tendencies are at least a distraction from the embarrassing pauses that occur when the four sit down to eat. Although the silence will soon end: when the boys go out to the terrace to smoke, Ingeborg receives an offer from Linn that has nothing to do with work, and that enters very abruptly.
It’s only to take off the fedora because of the tireless creativity of multitasking Jan Vardøen; their desire to create something that did not exist in the world before, be it bars, restaurants, discos, books or movies. This is his fourth feature film in six years and, as always, it is made of air and love.
PREGNANT BREAKS: Rudy Claes, Lars Berge, Hallvard Holmen and Kathrine Thorborg Johansen (from left) in “Oslo – Copenhagen”. Photo: Nordisk Film Distribusjon
“Oslo – Copenhagen” is also a good movie, at least for a while. Vardøen obviously has a talent for personal instruction: it is a lot nice natural spectacle to see here. Without fear, he is too. “Oslo – Copenhagen” is about a current topic (about which I will not say anything here).
Your ability to get a lot out of the little has been said and written before. It also applies here, in a film for four main characters and a Danish waiter. Vardøen has made the music for the film himself. Offers a lot organ (by Øystein Moen).
“THE BLUES” IN THE SMALL ROOM: Kathrine Thorborg Johansen in “Oslo – Copenhagen”. Photo: Nordisk Film Distribusjon
However, it is quite possible to identify weaknesses. The most important, for this critic, is that personal drawings become too superficial. Linn, Ingar, Ingeborg, Tom – all these people define themselves on the basis of what they like and what they don’t like, and especially within the director’s own areas of interest (food and drink, travel).
Of course, these personal preferences can tell us a lot about who people are. But they can’t explain everything.
AN OFFER YOU CANNOT KEEP: Rudy Claes (left) and Kathrine Thorborg Johansen in “Oslo – Copenhagen”. Photo: Nordisk Film Distribution
“Oslo – Copenhagen” also loses a lot of energy in the run-up, and personally I think this short story as a short story would have worked better as a short film. The impression is enhanced by an ending that is quite clear, but feels fundamentally unsatisfying, at least to me.
But nevertheless. Vardøen keeps track of something in “Oslo – Copenhagen”, even if it is not quite well maintained. Call me a stool, but this movie is worth seeing.
