Oslo, august 31: Narration of absurdity and repetition

A continuous effort to overcome the break and emptiness and repeat it

In the process of the film, we see that every second that passes, this effort becomes more unsuccessful and the seconds pass until they inevitably reach that date, hour, and second... that moment on August 31, before Oslo's eyes.

Did he (Andres, the male character of the story) seek to find a meaning for life and now that he has reached the point of emptiness (Or maybe it can be said that he can no longer see the absurdity that was there from the beginning) He reached Oslo, August 31? I don't know... maybe this is the position of all of us Andres that we have been in "as if" from the beginning and of course we are still restless.

Before he went to the rehabilitation center, as if in search of meaning, he was writer and wrote articles for one of the famous Norwegian publications. It seems that he is on a slope where he got to writing, but then he got out of addiction and then the rehabilitation center, and finally he mentions that day, August 31st.

The empty spaces that he tries to fill are also among Andres' repetitions. An effort that always comes to a closed door: a sister who avoids confronting Andres despite his pursuits, a partner who no longer responds to his messages, a sense of emptiness that don't changes with laughter and fun, an empty pocket that is only filled with a pack of heroin that he bought from his former bartender, and an unsuccessful attempt to commit suicide and it seems as if even death is touching his chest, and of course, the story, after Failure to die is just beginning. His suicide model also has a story. It seems that his attempt to die is in his most passive state. Maybe the story wants to show the moment of the life of someone who has already passed death and is just falling down a slope, or better to say, he is falling down.

Is there no other option than August 31? Maybe there is no other option than August 31. On that day, he tries several times so that maybe this time he can overcome that emptiness (whether or not that emptiness can be filled at all).

Yes, he finally fills his vein with heroin in one of the many houses in Oslo, a city that witnessed his life history from birth to this date, after a long time away from addiction...

Manchester by the sea: fire of anger under the ashes of sadness

After watching this movie, one word, no, three words kept coming to my mind: sadness, sadness, sadness.
It's as if they made sadness out of him. I mean lee, he is the character of the man in the story. The sadness is pouring from his eyes. I don't mean his tears, he doesn't cry after all. I say his eyelids seem to have a strange desire to close. The clousure that will never open again. But he is alive, and his half-opened eyes are only for the nearest distance to see him. Neither before nor after. I don't know, maybe he is running away from what happened to him. But no, he is too lazy to run away. As if it continues the past. After that, the same thing happens every day. When the past does not pass. What follows are situations that may only look different, but they repeat the same thing: anger directed at oneself. Sometimes it's in the form of sadness, sometimes it's deathly silences that end up with a few words in response to a question, and sometimes it's a fist that turns into someone else's face. It is as if the fire of that incident has not been extinguished and is just burning from the house that has been left with ashes. A fire that only want to burn until death, every day and every day, until the day of death

A psychoanalytic look at the movie, sick of myself

It has been said for a long time that "a head that does not hurt is not covered with a handkerchief". But the movie "sick of myself" is an example that sometimes a head looks for pain to cover it with a handkerchief. What is there in that head?
The female character of the story, who is in a mirror competition with her partner, seeks attention in various situations, which, of course, has a masochistic pattern in most cases. He finally seeks medicine to cure his pain. But in a special way: a drug whose skin side effects have been proven and she finds it a suitable drug to treat her pain. But here the pain healer is from pain itself. Yes, the pain that comes to heal another pain. It is as if she hit at least two targets with one arrow. The first sign is the turning of the eyes from his partner (who, thanks to his artistic work, magazines want to interview and take pictures with him) on himself and the second sign is the satisfaction of the need to suffer. It is as if "being angry" is everywhere and only its subject and object change. Sometimes the object of a woman's anger becomes her partner in a narcissistic and competitive image, and sometimes herself becomes the subject and object of it. But why does she do this to herself?
Of course, the fantasies that exist behind these behaviors are very influential, and the film does not mention it much: perhaps the fantasy of killing someone who considers her face to be a legacy of it, and at the same time castration (separation) from it has not been done; Or even that she is far away from the love object and deserves nothing but a destroyed face; Or maybe the face that the love object is not in love with should be destroyed; And many other fantasies...

A psychoanalytic look at the movie Grand jete

You are in the air for a second, there is nothing behind or in front of you, this is your grand jete.

The female character of the story says the above sentence while describing the Grand Jete technique to her students. The name of the film is also derived from the same ballet dance technique, in which the dancer pushes one leg back and throws the other leg forward with a big jump in the air. Perhaps similar to what the woman has done with her life: she left the son who was the result of a temporary relationship to his mother, came to Berlin in the hope of a better future or escape forward, and suspended herself in the air of ballet. But the woman's narrative is something else. Based on what the woman says, it seems that she is going to savor the moment in the air regardless of before and after. This is also his Grand jete.
Is it possible to hear what a woman does not say from what she says? Of course, there is a gap between what the subject says and what he wants to say...
In the book "Civilization and its discontents", Freud considers art as one of the three ways that can make human suffering bearable and alleviate. But here, in order for the art itself (here, dance) to be bearable, accommodation must be constantly consumed. The wounded and bloody toes of the woman's feet tell the story of her encounter type with art; An obsessive and, of course, masochistic encounter. Here, the discussion is no longer about relief, but perhaps it is a punishment that occurs in the form of art that goes beyond its pleasure, to beyond of pleasure principle, to death, to jouissance. Punishment for the sin that a woman may feel unconsciously or consciously. A woman who has been a mother for 9 months and then, no more. It is as if the same body that contained the fetus and then released it, must be punished in any way: add inflamed skin, painful muscles and a knee in need of surgery to the bloody and bent legs that are apparently in the service of art. A woman meets her son after 17 years and during this meeting she experiences complex and perhaps primitive feelings: feelings and actions that are allowed with any boy except her son and at the same time, a feeling of care and motherhood. So what father? It is clear that there is no such concept in this story, and of course, because of this, Oedipus is not resolved, but revived. It's as if mother and son both make a grand jete from cultural law (father's law) and regardless of how much such an action can be pervert (deviant from the law), like a woman's relationship With art, it's the repetition of pain in a pleasurable form (sexual matter). The question that keeps coming to mind in the movie is why with his own son? Maybe both of them want to just enjoy the moment by denying what is before and after this long jump. I don't know, maybe this woman, like Dostoyevsky's Raskolnikov, is moving toward something forbidden and deserving of punishment, but after punishment, there is hope for purification.