★★★★☆
THIS bold and hypnotic supernaturally and romantically tinged thriller comes from Joachim Trier, one of the most intriguing directors working in European cinema today. Following an attention-grabbing opening sequence depicting a father and daughter hunting in an icy Norwegian landscape, we get a bird’s eye shot of a bustling college campus that slowly zooms down to focus in on the titular Thelma (Eili Harboe).
She’s an introverted young woman who has gone out into the world from under the protective safety net of her very religious and overbearing parents who still very much impede on her lifestyle; a memorable scene early on depicts her father chastising her for looking down on others just because they don’t share her religious views. Generally she tries her best to get on with her work and fit into the social scene that she swiftly discovers stigmatises her Christian upbringing.
She also has to deal with crippling seizures that her doctor can’t seem to explain and which increase in both frequency and intensity just as she embarks on a new relationship with fellow female student Anya (Kaya Wilkins). Before long they start to elevate to the level of supernatural powers that enable Thelma, both consciously and subconsciously, to manipulate the world around her.
For his foray into the otherworldly Trier thrusts the same level of thematic complexity and character depth found in Oslo, August 31st; Reprise and last year’s devastating grief drama Louder Than Bombs – this time on to a heightened canvas in a way that really rewards the viewer’s investment.
The fear of mental illness, uncertain sexual awakening especially when informed by a strict Christian upbringing and idea of forces in the world you can control versus those you unequivocally cannot are just some of the topics it tackles along Thelma’s troubled journey.
Working from a script he co-wrote with stalwart collaborator Eskil Vogt, Trier paints a carefully constructed and measured narrative that has the power to enthral, horrify and shock in equal measure. He uses the still beauty of the Norwegian landscape and an ominous atmosphere enhanced by Ola Fløttum’s memorable score to mirror the character’s erratic identity, brilliantly encapsulated in Harboe’s beguiling performance.
It’s shot with an assured visual style, punctuating the narrative with sporadic but striking CGI-enhanced visuals that escalate alongside Thelma’s ever-increasing level of ability. It works so well because it marries that fantasy aspect with powerful, grounded drama to make for an intense psychological character study beautifully filtered through an imaginative lens.
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