Thelma

You've seen the plot before - Carrie, Raw, cornfields, yada yada - but Trier both knows how to create a mood, and how to not let the audience walk away from it feeling TOO warm and fuzzy. That that big question mark at the end is applied to a same-sex love story is tricksy, but I'll take sympathetic-but-tricksy over straight-up happy endings any day.

(CARRIE GOES TO COLLEGE)

Very slow beautifully constructed, slightly erotic mystery about scandinavian teen lesbians (nice). For such a careful and slow build-up, the ending was too easy and not dark enough.

Style over substance. A few very good scenes.

Lush cinematography offers both hyper-realism and a strangely esoteric allgeory about female enpowerment and religious oppression. Freud is involved, phallic symbols galore surround the strong God the Father. While the female lead comes into her own as the modern Jesus, healing the sick and casting out demons. A real heady film that manages to steer clear of pretension and obtuse surrealism, partly due to the able direction and exquisite acting. Both accessible and insightful. A joy to watch!

MARVEL can never make anything comparable to this.

Thelma's plot synopsis reads like Carrie Goes to College. But Trier, perhaps the most humanist filmmaker working, makes the story so much more due to his deep empathy for the struggles of everyday people. Here he merges supernatural thrills with the real world horror of overbearing fathers afraid of their independent daughters. And the atmospheric photography and music make it moody as hell. However, a trigger warning is needed for a scene that could cause seizures. Highly recommended.

A supernatural coming-of-age story from Norway with impressive acting, visual style and score. This would make a good companion piece to Raw.

I like this film very much for its cool Nordic aesthetics and sensitive characterisation, and the early romance subplot which develops. I also feel the rest of it is quite flawed, though. Trier basically takes a "throw everything at the wall and see what sticks" approach to the paranormal psychological thriller. There are too many competing elements at play - seizures, religion, taboos, drugs, dreams, superpowers - while the family stuff needs to be centre stage. Superb but only in a few parts.

From the intriguing opening scene this well put together coming of age/psychological horror/ love story entertains and poses a few questions too.

A "fantastic" revolt and purification against repressed human emotions and sexual inclinations of the daughter of a nonscientist father who despite being a doctor, tries to explain everything with his religious beliefs. Likewise, religions are something "fantastic".

The supernatural elements didn't work for me 100%, but everything else was perfect.

If I could give this a 105 percent I would. Absolutely wonderful, and one of my recent favorite films

It's the Carrie of epilepsy.

Although it seems that cast &crew have done a good job, I didn't like it. indeed I have many problems with the Story & Screenplay!!!

Tries to be a bit of everything - either romantic, religious, supernatural, even medical at some point - while it obviously alludes to something familial and disentangling oneself from the shackles of parental intrusion. I like Joachim Trier as a filmmaker for tackling different genres, but the focus here was completely all over the place.

Original and engaging. The lead actress is great.

Excelente cura para a insônia.

What a wonderfully faceted, beautiful movie. It explores the themes of acceptance, youth, of finding one's place and of carrying grudge and dealing with things you might not be able to affect, be it either one's sexuality or their ability to make people disappear on will. Sometimes things just are there and we need to accept them as part of ourselves. Really enjoyed this Norwegian version of Carrie. Beautifully shot, acted and written, there's never a dull moment or an unmeaningful one here.

nothing like that first love, baybeee!!

Absolutely loved the intense, low-stakes personal drama of the first half. Second half is still good, just felt like the supernatural elements kind of took over, and the setting is less interesting. The overwrought flashbacks drag it down a little too. I would have adored this without the magic stuff but I guess that wouldn’t have been very dramatic. As it is, still a good movie

I was very intrigued by the opening scenes and the pretty lead, but what followed was a long build up to a mostly disappointing conclusion. The dialog was quite dull and uninspired. The love story was also underdeveloped. There were a few good moments but overall it fails to satisfy, relying too heavily on rather poorly presented supernatural abilities making it sometimes confusing and entirely unconvincing.

Metafizik güçleri olan Thelma, ilişki kurduğu kişilerle etkileşimler yaşar. Frekanslar öyle etkilidir ki, kendini bile öldürmek ister. Önceleri epilepsi sanan Thelma, sonradan inanılmaz 1 yeteneği olduğunu keşfeder. Upuzun sahneler, seyirciyi yorsa da merak edici. Yönetmen, oyuncuları bayağı bir zorlamış. Elli Harboe, zor bir işin içinden çıkmış. Fakat bitse de gitsek, modunda izliyoruz. Güç senin elinde fakat kontrolsüz güç, güç değildir.

Wonderful genre blend, with queer romance, supernatural thriller, and some light horror elements combined to make something that feels extremely fresh. Atmospheric with an unpredictable narrative and a great central performance, it's shot beautifully and has some seriously haunting scenes. Great stuff.

I found a little touch of psychological Horror; that is why I included it on the Halloween list of 2019. Not the big movie I was expecting.

Irredeemably kitsch.

never ever burn ur father

#18#, exp3, rw3, story, ratings

I gave up waiting for the film to start - and apparently the first half is the strongest bit, yikes

???? ??? ???? ??? ??????? ???? ???? ???? ?? ?? ????? ?? ??? ???? ???? . ????? ??? ?????? ?? ? ?????? ? ??????? ? ??????? ?? ?? ??? ??? ?????? ??? ??????? ????? ??? . ??? ????? ?????? ??????? ??? ??????? ??? ?? ??? ???? ? ??????? ???? ?? ?? ??? ???? ??? ?? ?? ?? ??? .

i'm kinda bored with these post-CARRIE coming-of-age/feminist empowerment narratives dressed up (somewhat lazily) in genre garb, but i love this style of filmmaking (in that respect i'm still a kindred spirit of chaw, the lone critic to name this his FOTY). trier builds a lucid visual language atop a small number of archetypal motifs, and some of the images are truly vivid and startling in context. mickle's WE ARE WHAT WE ARE came to mind, particularly for how water is used to tell this story.

Filmekimi - Atlas.

güçlü bir atmosfer kuruyor, hatta öyle güçlü ki film aslında pek de özel bir şey anlatmazken dikkat ve ilgiyi sarıp sarmalayıp etkileyici, keyifli zaman geçirtiyor. trier ve vogt önceki filmlerinde de "hissettirme" konusunda hayli başarılılardı, ama onlarda anlatılan hikayeler daha derinlikliydi. buradaysa yüksek bir beceri olduğu kesin, ama film gereğinden fazla şişkin, adeta ufakça bir hediyenin kocaman bir kutu içinde iyi paketlenerek verilmesi gibi...

For me, there always seems to be something small and undefinable missing from Trier's narratives to make them feel fully formed. I really can't put my finger on it. It doesn't matter too much - this is still great - I just have trouble falling completely in love.

Viewed November 20, 2017.

Eili Harboe is really good, but the second half of the film meanders.

It's odd that in a genre film like this, the hysterical delusions of the ultra-Christian family turn out to be true. Conflicting themes aside, Thelma has a handful of very striking and memorable scenes of terror and suspense that are delivered in potent little slices. The love story that goes with it ain't so bad, though the film certainly loses a much needed sense of urgency just after the second act, but picks itself up as it finishes.

I had no idea what to expect, but I was incredibly disappointed. Feels as though it never quite congeals into something meaningful or even coherent.

Very stylish, interesting effects when shit goes down. Harboe put a really good performance in as the titular character. What is best about this is Trier's denial of a simple, happy ending; you're left with a big question, something to ponder. I hate when movies shoehorn lightness in, and this doesn't do that. Trier knew how to instill a certain mood and stuck to it, hit enough emotional depth to make me feel like I was watching more than just an interesting movie (which would be fine).