Oslo, August 31st

*melancholy over nostalgia * Oslo, August 31st does not hide its intention behind the movie, in fact it hints to you directly in the prologue where the film is heading. The rock weighing down Anders in the first scene is a metaphor for the self-loathing and weightless, deteriorated psyche Anders wrestles with daily. He no longer fits in with society nor does he fit in within his rehab group. He struggles from nihilism and despite his best efforts for stimulus, he has emotionally flatlined. Anders reminds me of a comic book character stumbling through life with a black squiggly emanata above his head to indicate a sort of eternal rainy cloud headspace. This is genuinely one of my favorite depictions of loneliness and depression within film. Our protagonist is not simply sad, life has defeated him and he cynically laughs at the notion that “things will just get better, just give it time!” His self-hatred has become an unbearable loudspeaker within his head preventing him from ever overcoming the mountains he has created for himself through poor habits. Viewers have to hopelessly endure the pain of others seeing the talent and qualities within Anders that he violently pushes away through self sabotage. The depiction of depression goes much deeper than one-dimensional sadness however, there is a clear paradox through the movie of Anders looking for somebody to feel sympathy towards him and yet he pushes any prospective opportunities away for no apparent reason. These actions demonstrate the insurmountable nature of depression that Anders can not seem to overcome despite his efforts to go along with how other “happy” people live. Anders abandoned the sentiment of a happy life the second he fell victim to addiction; and this movie is him grappling with the realization that he has thrown away any prospect of a fulfilling life. The depression is materialized through well thought out dialogue, but what makes this film extraordinary is the lonely, melancholy essence. Loneliness is the driving force behind every frame gushing through the wide shots depicting Anders as a tiny aimless silhouette in a city that has much outgrown him. We observe other characters live their lives oblivious to Anders vehemently observing in hopes to feel something other than pain. The cinematography is reminiscent of when you wake up from a nap and everything is hazy and dream-like and you just can’t seem to fall into a rhythm. There are small splashes of color through the movie, but everything is bland and gloomy. This ambience is not exclusively cultivated through cinematography but also music. There are no needle drops in this film, no music to accompany the aimless wandering, and a lack of music during heavy dialogue. These elements combine for a solemn and reflective 90 minute experience exploring nothing but the psyche of somebody ready to wave the white flag and succumb to the hardship and seemingly aimlessness of life. I can remember feeling like this regularly, and I can associate my darker moments with the melancholic feel of this movie. To anybody reading this, you are loved, and life is not meaningless but rather a fulfilling journey en-route to something so much greater than our limited minds can fathom.