2.5 stars. Like a sketch from 'The Armando Iannucci Shows' delivered which the pace of a Roy Andersson movie. As a satire I found it confused, but it contained some indelible images of startling absurdist brutality. It felt like it could have been released a decade earlier in 1996 alongside Steven Soderbergh's 'Schizopolis' and The Simpsons episode 'You Only Move Twice'. In short, I wanted to like it more than I did!
Univers dantesque pour fautifs et fauteurs condamnés à un éternel recommencement ? Enfer, purgatoire et manipulation où la mort, comme ultime repos, est une impossibilité physiologique ? Mondes parallèles qui s’emboîtent et s’ignorent ? Ou tout simplement, sombre panorama en négatif et en douleur d’un vécu actuel, nimbé du vague souvenir d'un paradis perdu... www.cinefiches.com
We are challenged to go on a ride with the director's imagination through a time and place that can't quite be recognised. The reason becomes clear as our protagonist experiences life in a city where the food is bland, emotions are entirely false and from where any form of escape is impossible. The climax of the discovery of a wormhole to the real world leads to the ultimate punishment. Totally unique.
A fairly enjoyable movie that captures the sinister and narrow routine of 'normal life' from the well-trodden and pretentious perspective of the outlier-artist. Unlike other films that commit further to a dream-like reality, The Bothersome Man presents itself in such a way that the open ending felt more like an unfinished thought than a crafted question.
Apt title, this solipsistic film serves as an adaptation for how Karl Ove views the 9-5 world, only in place of his intense insight we have crass observations. An obvious attack on the petite bourgeoisie, this plays its hand way too early and never develops. Kind of succeeds in its '1984' by way of Microsoft '98 aesthetics, but 'Wristcutters' did this film better. I found this too charmless.
A dark comedy about a man searching for joy and happiness, and unable to find it in a dark world where he is filled with depression. This movie will leave you confused, but maybe interested enough to watch to the end, which you will most likely regret. I would not recommend watching this, while it may hold artistic qualities, it leaves to much unanswered, and unaccounted for.
Quirky and light-hearted one moment, bleak and gruesome the next -- definitely a Scandinavian comedy! It's about the deadening effects of consumerist and corporate culture, as well as the vague and seemingly impossible search for true happiness (whatever that may mean). Humorous yet upsetting.
Brilliant! The lead actor is excellent and the cinematography is just wow! This film should be a cult movie. I laughed for the first half of the film and was very receptive to all this absurdity, but the end made me cry and question certain things. Deeper than it seems. Bravo! This is typically this kind of films that make me renew my subscription to Mubi every month.
Dry Scandinavian humor with several discreet layers of absurdity and a dash of the surreal. Visually very well made; it is nice to have a film that also uses sound well. If it is a commentary on modern life and its lack of true sensory (and emotional) experiences, or if it is an investigation into life and afterlife, I know not. It is a film that I think Douglas Adams would have enjoyed. Fun and touching.
A petite surrealist film on the fiction of the progressive-capitalist dream and its icon, the [masculine] subject of pleasure. Often visually striking. The last third is a sort of counterpoint to the first two-thirds. Occasionally "a bit much" or a bit too dry, but I really enjoyed the flatness of a lot of moments of this film. Andreas is both the subject of pleasure and the one who cannot be that subject.
Visual, ambiguous, bothersome - Jens Lien certainly makes you feel the same unease that Andreas (played by Trond Fausa) feels. Another brilliant performance by Fausa who's shown time & time again with Lilyhammer that he's got a great depth of drama and comedy. Performance mixed with a stylistic, dystopian backdrop, the last frame of The Bothersome Man made me wish there was more and, maybe that's a good thing.
Strange and mysterious are not enough to sustain an entire film, alas. There are some nice visuals, and the foley recording is rather artistically disgusting, but beyond that it feels like a film with rather little to actually say. There are some homages to Tati's Play Time, which only help to showcase how The Bothersome Man fails to come within striking distance.
The 18th-century writer Jules Renard declared, “We are in the world to laugh. In purgatory or in hell we shall no longer be able to do so. And in heaven it would not be proper.” Seems an apt description of this film, though if I believed in heaven, I would think it would be filled with much more laughter than we get to enjoy in this life. I found the bleak ending appropriately rewarding. 3.5 stars.