If "Carry" was born in Norway, it would be called "Thelma". The movie of Joachim Trier ("Oscar August 31", "Louder Than Bombs"), is unlikely to bring great revenue to its distributors, it will surely attract bored teenagers, horrified by horror elements in the trailer and the impressive poster. I don't want to become a bad prophet, but I'm pretty sure that the reaction will be purring, seat adjustment, and broad yawns. Because "Thelma" is neither a horror nor a superhero fantasy, and that's why it's special.
The story traces Thelma (Aile Harbo), a shy girl who has just left her religious family and the small town to study at Oslo University. Shortly after the beginning of the semester, she is experiencing an unexpected and severe attack in the library and very soon she finds herself strongly attracted by the beautiful student Anja (Okay Kaya) who responds to her love desire. Thelma is overwhelmed by her strong feelings for Annie, who initially doesn’t even recognize herself, but at the same time her attacks are getting heavier, challenging her to face the tragic secrets of her past and the terrifying implications of the forces. As an approach to the story, Trier has chosen to move along the blade between the fantastic and the psychological, as Shamalan did great in "Split". For the most part, the film is more mystery and speculation than supernatural horror. Thelma slowly reveals her abilities, and the viewer asks whether the character is actually not mentally ill. It investigates complex relationships with parents and the consequences of mistakes reaching unsuspected sizes. Like "It Follows", this is a story about the monsters that are hiding in the closet of sexual maturation and repressed desires.
In previous news on the topic, you can see the excellent starting scene in which the little girl goes hunting with her father. The frozen lake is a key figure in the plot and theme of the movie and will appear later (this time thawed) to become the podium of one of the most spectacular screen shots recently. Here is the place to note that as a fiction "Thelma" there are excellent hums that fans of the genre will appreciate. Respect for the viewer's intellect is respected, and for the most part time no simple explanations or gross exposures are made. In the second half of the film, however, some roughnesses emerge that reduce the impact of the climax. Because "Thelma" doesn’t follow the Hollywood model and runs away from clichés and easy decisions, deepening in the character's psychology and complexity, the film becomes, at one point, the prisoner of its greatest asset. It is the European approach and Trier's reluctance to increase tensions and dynamics in the second half, playing the bad joke and putting the plot into annoying boxing, which is expressed in scenes of medical research and hospitality visits. Where the film could become an attractive thriller with a strong artistic influence, it is losing time to unleash storylines that no one has ever asked. Which is unfortunate because Trier is capable of lifting cinnamon adrenaline, as is evident from the stylized scenes in which Thelma's skills are unlocked. A strong impression is made by one of the Lesbian kisses, during which a snake appears to make the nightmare unbearable for all with the phobia of the endless reptiles. However, this is not a description because it should be seen (if possible on a large screen). The school corridors and aula also look in the eye with their clean interior and how different they are from the American (not to mention the Bulgarian ones). The game of the two girls who, without much experience, are impeccable in their roles. Especially Ily Harbo, who has the difficult task of showing the frightened Thelma, who at first wants to like her classmates, but then she has to ask forgiveness from the Lord for the two beer tests, humbly resting her head in the wall. All of this, even its seizures, is transmitted without unnecessary hysteria and melodramatism, and cleared and minimalist shooting further strengthens the overall effect. In the end, "Thelma" is a good movie that could win a 20-minute cut in its second half, which, like"The Witch" by Robert Egers, tells about the sexual maturation of a young girl in a world of religious repression. For some viewers, the result will be embarrassing for viewing, but for others it will be able to stimulate the senses in portraying the inevitable sweep of top-down dogmas. If you are admirers of Steven King, European cinema and quality fiction, you will like "Thelma".
