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- 2023
- Utopia
- 1 h 37 m
- 2023
- Utopia
- 1 h 37 m
Summary Signe (Kristine Kujath Thorp) and Thomas (Eirik Sæther) are in an unhealthy, competitive relationship that takes a vicious turn when Thomas suddenly breaks through as a contemporary artist. In response, Signe makes a desperate attempt to regain her status by creating a new persona hell-bent on attracting attention and sympathy.
Directed By: Kristoffer Borgli
Written By: Kristoffer Borgli
- 2023
- Utopia
- 1 h 37 m
- 2023
- Utopia
- 1 h 37 m
Sick of Myself
71
6.8
Where to Watch
Summary Signe (Kristine Kujath Thorp) and Thomas (Eirik Sæther) are in an unhealthy, competitive relationship that takes a vicious turn when Thomas suddenly breaks through as a contemporary artist. In response, Signe makes a desperate attempt to regain her status by creating a new persona hell-bent on attracting attention and sympathy.
Directed By: Kristoffer Borgli
Written By: Kristoffer Borgli
Where to Watch
Top Cast
Metascore
Generally Favorable
Based on 14 Critic Reviews
71
86% Positive
12 Reviews
12 Reviews
14% Mixed
2 Reviews
2 Reviews
0% Negative
0 Reviews
0 Reviews
Metascore
Generally Favorable
Based on 14 Critic Reviews
71
86% Positive
12 Reviews
12 Reviews
14% Mixed
2 Reviews
2 Reviews
0% Negative
0 Reviews
0 Reviews
Writer-director Kristoffer Borgli’s pitch-black comedy makes merry with malignant narcissism and the worried well.
The filmmaker’s tart and scabrously funny (both literally and figuratively) sophomore feature is a pointed portrait of a toxic relationship and a razor-sharp evisceration of those warped by a victim mentality.
User Score
Generally Favorable
Based on 12 User Ratings
6.8
67% Positive
8 Ratings
8 Ratings
25% Mixed
3 Ratings
3 Ratings
8% Negative
1 Rating
1 Rating
User Score
Generally Favorable
Based on 12 User Ratings
6.8
67% Positive
8 Ratings
8 Ratings
25% Mixed
3 Ratings
3 Ratings
8% Negative
1 Rating
1 Rating
Kristine Kujath Thorp dá a vida a uma moça super mediana, daquelas que não se destacam em nada se levarmos em conta parâmetros usados nas redes sociais e que nos é vendido como sinônimo de felicidade. Ao contrário, Signe é justamente uma mulher do seu tempo, vivendo a era do simulacro e adoecendo perante isso.
Incialmente, já vamos vendo o quadro depressivo, seja no olhar perdido ou no tédio daquela vida comum. Em seguida, vemos a personagem sempre tentando algo a mais, como um florescer, mas sem paixão ou brilho no olhar. E assim, quando surge a oportunidade de se medicar, numa clara alusão à automedicação, tão danosa em tempos de "Google", sequer sabemos quais suas verdadeiras intenções.
Aí o roteiro vai brincar com muitas situações típicas do século XXI: exposição da mídia, espetacularização dos corpos, estigma... E tudo isso é acompanhado por uma câmera que não poupa a protagonista dos mais variados efeitos colaterais, em especial na aparência. E quando ela passa a monetizar seu sofrimento, sabemos que nada é tão simples assim.
É estranho que, durante o filme, alguma sensação como "querer imitar" a protagonista em seu uso de medicamentos soe ao mesmo tempo estranho e louco como também muito crível. Afinal, fazer uso de drogas e entorpecentes nem é tão longe disso. É como se o mundo encontrasse um nicho para cada espetáculo.
Mas a condição de Signe vai muito além da aparência, passa a ter implicações psicológicas e físicas severas, a ponto de sofrer internação. E, nós, enquanto espectadores, somos jogados numa culpa interna entre desejar-lhe que a vida a retribua de alguma forma, talvez com mais curtidas ou com o sucesso repentino, quando na verdade ela propositadamente se coloca numa situação esdrúxula.
Claro que o roteiro é, até certo ponto, complacente com a situação, colocando no caminho dela momentos de alívio e de ganhos. Contudo, não atrapalha a experiência de vermos como somos monstros de nós mesmos, métricas de uma sociedade doente. Aliás, a sociedade em si é neutra, e se torna doente pelos indivíduos que a compõe. Belo tiro weberiano para uma composição foucaultiana e freudiana sobre a jovem reprimida que procura prazeres fortuitos, em dispositivos de poder que no fundo a massacram, e à custa deliberada de sua própria saúde.
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As every Scandinavian black comedy, 'Sick of Myself' finds its charm in its awkwardness. The story about a narcissistic couple silently fighting to see who is the worst person in the world (yes, it has some traces of the magnificent Joachim Trier film) shows how far we are willing to go to attract attention, no matter how stupid it makes us look. Although very funny, the movie gets into dark territory (even veering a little into body horror) by the end, exploring the twisted nature of toxic relationships and our ever-constant and dangerous desire of being acknowledged. The third act may be a little unsatisfying for some, but hilarious scenes, a social critique aimed at misfortune exploitation, and its originality make it a compelling watch.
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Sick of Myself reminds us to question the ulterior motive and points out the inherent narcissistic intent behind the urge to “tell your story,” both within ourselves and in others.
Each time we think Signe has hit her breaking point, she perseveres. It’s deadpan funny at first, but then gets disturbing. Her refusal to give up the act proves to be more sickening than her physical symptoms.
If it wasn't for Thorp, this would be intolerable, but as Signe she creates a fascinatingly off-putting character study of a menace to society. There's no redemptive third act here, yet she still creates a rounded depiction of a singularly minded bully.
Sick of Myself works as well as it does due to Kujath Thorp’s charismatic performance.
Kristoffer Borgli is unduly proud of himself for concocting his unlikable protagonists, and he marinates in their repulsive self-absorption.
Sick of Myself is a black comedy that is driven by a fairly simple plot about a young woman who, feeling jealous of her ''artist'' boyfriend's success, decides to fake an illness to get attention. It's not a spoiler to say that things get out of control, after all narcissism and insecurity in the age of social media are powerful drugs in the human psyche and that's the key point of this story although not necessarily its central driving force. Not everything about this film goes right. The execution is a bit clumsy and its pacing stalls on more than one occasion and above all its actors are not entirely reliable in selling the concept but the humor and satire give it better results and catapult the strident toxicity of its message. I was expecting something more ruthless and unforgiving, but what is delivered gets the job done.
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(Mauro Lanari)
Freud was an amateur classicist and didn't get anything right with the Greek myths of Oedipus, Electra, Narcissus. We will have to wait for Kohut for the distinction between the healthy and pathological narcissistic core. Filmmaker Borgli, a Norwegian millennial, feels no interest in these precedents and is committed to making us to believe that the problem arises or worsens with "Instagram culture". Obviously it is false, think of the "15 minutes of fame" misattributed to Warhol or "King for a Night" (Scorsese '83). It has only taken a new form, the one currently most discussed by the media and on the social platforms themselves.
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Production Company
Oslo Pictures,
Garage Film International,
Film i Väst,
Scandinavian Film Distribution,
Memento Films International
Release Date Apr 12, 2023
Duration 1 h 37 m
Tagline An Unromantic Comedy
Awards
Amanda Awards, Norway
• 2 Wins & 5 Nominations
Valladolid International Film Festival
• 2 Wins & 2 Nominations
Brooklyn Horror Film Festival
• 2 Wins & 2 Nominations
