An impressive Norwegian debut with a lightning paced structure.
Anders Danielsen Lie: Phillip
Espen Klouman-Hoiner: Erik
Viktoria Winge: Kari
Henrik Elvestad: Henning
Christian Rubeck: Lars
Odd Magnus Williamson: Morten
Rebekka Karijord: Johanne
Henrik Mestad: Jan Eivind
Pal Stokka: Geir
Directed By: Joachim Trier
Written By: Joachim Trier and Eskil Vogt
Release Date: May 16, 2008
Running Time: 105 minutes
Rated R for sexuality and language.
Reprise, the feature debut from Norwegian filmmaker Joachim Trier, is exactly the type of offering that most audiences would ignore. The opening credits greet viewers with a jolting dizziness of rapid voice-over narration, flashbacks and flash-forwards that announce how much different this will be. Trier and editor Olivier Bugge Coutte assemble this mature young adult drama with a fine precision and sophistication that is not ostentatious nor blatant manipulation. This technique was conceived and executed with a clear purpose, and Trier unleashes some brilliant maneuvers that eventually (and disappointingly) settle down in the second half.
Reprise begins with two young men, Erik (Espen Klouman-Hoiner) and Phillip (Anders Danielsen Lie), standing at a mailbox, preparing to mail their manuscripts in hopes of a bright writing future. Possible glimpses of that future are bombarded on viewers with relenting energy, but then reality soon emerges. Six months after they mailed their work, the lives of Erik and Phillip are not what they initially dreamt. Phillip has just been released from psychiatric ward after suffering a massive breakdown, which does not improve when he encounters his on/off flame Kari (Viktoria Winge). Erik is still diligently typing away, hoping to score a break, and following the footsteps of his hero, a reclusive author named Sten Egil Dahl (Sigmund Saeverud). Revealing more would ruin this bracing experience. It tracks Erik and Phillip’s struggle with adulthood by exposing what is, what was, and what might be in store for them.
Anders Danielsen Lie and Espen Klouman-Hoiner make an intriguing and suitable pair of friends. From the very first moment, it is evident that they were once inseparable, but when Phillip has his breakdown, one can sense a change. They still hang out regularly and enjoy each others company, but Phillip’s mental absence is obvious even though he is there physically. Both actors are relative newcomers to the game, but both are magnificent and authentically vexed. Danielsen Lie is the highlight for sure, channeling all the torment and internal anguish an actor could. He literally walks and talks as if he was on another planet. You can see this in his eyes. Klouman-Hoiner is strong, but Danielsen Lie is a rising young talent.
The atmosphere that is established with Erik and Phillip’s other pals is genuinely humorous, yet truthful when it comes to males. The way they tease ach other and converse about women and relationships will be comical to anyone. Perhaps the most hilarious scene occurs as one buddy vocalizes that women just pretend to know about things such as film, music, and so forth. He says none of them have opinions on their own. They probably heard it from a boyfriend or father.
In an interview at last years Toronto International Film Festival, co-screenwriter Eskil Vogt stated this: “You're such a complex person when you're in your early twenties,” added Vogt. “You have highs and lows, you're interested in everything, you suddenly get very happy and then very sad. That's the energy of that time and what we wanted in the film.” Such a true statement perfectly reflects the tone and mood of the picture, and only enhances my fondness for the achievement. The direction is a vast assortment of aesthetic tactics that are equal amounts screwy and ingenuous, but it never appears as a rookie filmmaker throwing all his eggs into one basket on excessive caffeine. The anonymous narrator, the variety of camera tricks, and the non-linear method of unraveling the story is all positioned dexterously.
The profundity of the players is astounding at times. Critics proclaim numerous films as possessing “realistic characters”, but this truly and painfully expresses how testing this particular time in one's life can be. Trier echoes the heart and pragmatism of Francois Truffaut, and the experimental behavior of Tom Tykwer. The style employed by Trier will not be adored by everyone. For many, it will be a chore to find a groove and become accustomed to the persistently jarring form. When I say your eyes are locked to the screen, I mean just that, because blink to often, or look away, and you will miss something. My main gripe came with the shift in disposition from the first and second portions of the film.
Reprise was made in 2006, has been making its rounds in the festival circuit, and has been racking up awards in the process. What separates this from similar stories of that bridge leading into adulthood for twenty something kids, is the manner in which it was delivered. Most plots focus on a group of friends, yet relies on one grappling with romantic troubles. They usually do not know what they want in terms of career, marriage, and life in general. Reprise stumbles on none of those hurdles. Comparable moments are indeed present, but Joachim Trier handles them with a fist of inventiveness that is undeniably refreshing. Admittedly, the destination was nowhere near as satisfying as the unforgettable welcoming, but he is a director to watch closely. Do not be surprised if his name pops up on “must watch” lists down the road.
The 411: It took awhile for Reprise to find a distributor at all. In some countries, it has already landed on DVD, going straight there I might add. It was also Norway’s entry into the 2006 Oscar ceremony. Director and co-writer Joachim Trier has crafted a stunning and at times maddeningly inventive debut. The acting is superb, the dialogue is sharp, and the plot is fascinating. This should certainly be seen by a wider audience, but since we are well into the month of May and the beginning of the blockbusters, many will simply skip this. Do yourself a favor and seek it out if it comes to an art house theater in your area. It is well worth taking a chance on.
