The desire for attention is a natural and universal human need, as we all want to be recognized and appreciated in our daily lives, careers, and interests. However, the crucial question is: how far are we willing to go to get that attention? Would we resort to faking a nut allergy or purposely getting bitten by a dog? Most likely not. Would we even consider taking drugs to grab attention? The answer to that would undoubtedly be a resounding “no”.
Sick of Myself revolves around a young woman who is incapable of functioning without being the focal point of every situation, as she constantly craves attention. This character has no qualms about lying in order to obtain what she desires. Similar to a classic narcissist, she struggles with being out of the spotlight and will resort to extreme measures to regain it. It begs the question: is her behavior a product of a societal culture that encourages and permits such actions, or was it triggered by a traumatic childhood experience?
The film commences with a glimpse of a young couple dining at a luxurious restaurant in Norway. Signe (Kristine Kujath Thorp) and her beau Thomas (Eirik Sæther) appear to be enjoying their evening with a fancy birthday dessert and an extravagant bottle of wine that costs a whopping $2,300. However, while their love for each other might not be overtly apparent, they are certainly relishing the moment with style and a dash of playfulness. By the time the meal comes to an end, Thomas asks Signe to go take a call outside, and once she’s outside, he appears to do the good old classic dine and dash, running out and stealing what’s left of the bottle of wine as the waiter chases after him, but doesn’t manage to catch him. Signe finds herself standing alone on the sidewalk, feeling ignored and abandoned, as she watches the waiter walk past her without any acknowledgment. Her disbelief is palpable, and she is left to wonder how she ended up in such a predicament.
Signe harbors a deep-seated resentment towards being overlooked, even when it may come at her own expense. At a later point in the movie, as Thomas basks in the glory of his recent heist surrounded by friends at a lively party, Signe finds herself seething with envy as she watches from the sidelines, unable to capture the center of their attention. Her eyes fixated on the festivities, she yearns to be part of the revelry and to have the spotlight trained solely on her. As the scene unfolds, the audience is hit with the realization that Signe and Thomas are a troubled couple, perpetually locked in a fierce competition for attention, despite their evident unhappiness. Their self-destructive behavior and desperate need for recognition are on full display, drawing the viewer into their tumultuous world. All credit goes to director Kristoffer Borgli for bringing this gripping, brutal social satire story to life in a stunning directorial debut.
The restaurant incident just serves as a glimpse of what this narcissistic couple continues to do throughout the film. Continuing to try and one-up each other escalates quickly in the restaurant. Their desire for attention leads them down a path of deceit and manipulation, as they resort to everything from faking allergies to exhibiting stolen art and even developing addictions to drugs to gain the upper hand. Borgli’s screenplay delves deep into the psyche of these narcissists, exposing their hollow beauty and grotesque nature up close. While Signe’s journey is at the forefront, the audience can’t help but be drawn into the toxic world of these characters, where every setback is an opportunity for grandeur and everyone else is merely an adoring audience. It’s a brutal and sobering reminder of the dangerous consequences that can come from a never-ending craving for attention.
Borgli’s film takes a scathing look at the contemporary obsession with attaining viral fame and fortune, driven by the unquenchable thirst for attention that characterizes modern society. Through the antics of the central couple, the movie lays bare the ruthless and often grotesque lengths to which individuals will go in pursuit of notoriety and the callous opportunism that underpins this disturbing trend. As Signe descends into the depths of addiction, the film becomes a cautionary tale about the perils of unchecked ambition, and the destructive consequences of allowing one’s desire for attention to consume every aspect of life. Something about watching a toxic couple treat each other so poorly is amusing, dark, and yet so tragic.
Moreover, the characters portrayed in this film are not only captivating but also brought to life with exceptional performances by the actors. Their actions and motivations are conveyed in such a way that it draws the audience closer to the screen, keeping their eyes glued until the final credits roll. Despite their unconventional chemistry, the couple’s dynamic flows seamlessly throughout the film, and it’s clear that they were perfectly cast. Thorp’s portrayal of Signe is nothing short of transfixing, flawlessly commanding the viewer’s attention as the script demands.
Furthermore, the film’s aesthetic beauty is truly a sight, captured exquisitely on 35mm film. It’s akin to a picturesque piece of art that one might find in a charming seaside café, evoking a sense of romanticism that permeates throughout. The skilled cinematographer, Benjamin Loeb, employs a masterful use of close-up shots, deftly capturing every nuance of emotion in the characters, resulting in a stunning visual portrayal.
The film’s dark humor serves to raise a poignant question: to what lengths are we willing to go for attention? This introspective piece resonates deeply with our society, prompting us to consider why individuals like Signe and Thomas captivate our attention. In a world driven by technology and social media, the desire for attention has reached unprecedented heights. This sensitive topic warrants further contemplation as it delves into the complexities of human behavior and the addiction that ensues from attention-seeking. Ultimately, we must ask ourselves: is the pursuit of fleeting attention truly worth the cost of our well-being? The film challenges us to confront these difficult questions, igniting a thoughtful conversation on the dangers of the ever-present need for validation in our society. Sick of Myself is a stunningly raw and unapologetically savage work of satire that demands to be seen.
Sick Of Myself is currently playing in select theaters courtesy of Utopia with further expansion in the coming weeks.
Sick of Myself is a stunningly raw and unapologetically savage work of satire that demands to be seen.
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GVN Rating 10
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It all started when I was a kid watching Saturday morning cartoons like the Spider-Man: Animated Series and Batman. Since then I’ve been hooked to the world of pop culture. Huge movie lover from French New Wave, to the latest blockbusters, I love them all. Huge Star Wars and Marvel geek. When I’m free from typing away at my computer, you can usually catch me watching a good flick or reading the next best comic. Come geek out with me on Twitter @somedudecody.