An eye-catching title will set this apart from other films – mainly as a possible date-night film that will excite – but those for looking for something pornographic or blurring the boundaries of that will probably be disappointed.
This is a coming of age comedy more than anything else while dealing with a sensitive issue lightly. Fifteen year-old Alma (Helene Bergshom) is consumed with her desire for a relationship with Artur (Matias Myren) and a need for any sexual activity with most people she sees. Desire is all-consuming in her life, where the line between reality and fantasies is blurred until they come to their climax.
Comedic moments come from complete obscurity – the main fallout between Alma and Artur is one such bizarre moment. This then feeds the rest of the film its humour for you to chew on; whether it be an ironic moment or her fantasising about her boss in a cycling helmet. Gender swapping revolutionises the film bringing fresh humour and wit into a male dominated genre. It’s brazen in the problematic influx of hormones that plagues most people during maturity. The opening scene of the film is Alma on the kitchen floor pleasuring herself to a phone sex operator, letting you know how the film will go with a blunt character introduction.
Jannicke Systad Jacobsen has written and directed a frank, witty comedy which doesn’t paint the picture of how abnormal it is to be consumed by lust – the opposite is achieved by telling how natural it is. Low-key delivery of deadpan dulled dialogue works, its introvert style works more than if it was energetically extroverted, this is helped by the simple performances put in from all of the cast which play it dryly and with stoical cool. Simply coloured with a cold palette for a boring, dispassionate Norwegian back town contradicts from its steamy lead and her burning need for intimacy.
Unfortunately, it’s not all perfect and there are problems within the film but the main one is that its potential is squandered. A lot of the film dissipates when there are empty moments that can’t decide if it wants to be comedic or to handle the message with care. Where the frankness helps most of the film’s intentions they fall into incredulity – no daughter would be loud enough for their mother to hear. Some more fine-tuning within the script and story could help push it into believable, make it relevant and make it more enjoyable. Still, Jacobsen has created a lightly enjoyable quirky, witty comedy which isn’t equivocal. It breezes by because of its charming affable script.