De nærmeste

The camera is constantly focused on the face of the heroine who repeats the same facial ticks and expressions no matter what the mise en scene or part of the "plot" is. It's thus hard to work out what the characterisation is supposed to convey in terms of the emotions and psychology of the character. Same goes for all the other characters. Interesting that the only two convincing scenes involve secondary characters, the ill dad in hospital and the best friend telling our heroine what she really feels about the friendship. The plot is contrived, the sex scenes verge on the sadistic and voyeuristic and the whole thing is just messy and unsure of where it's heading. The relationship between mother and daughter only hinted at, never fully fleshed out. One of those movies one watches compulsively because it's so bad. Very unlike stuff that normally comes out of Norway. Three stars for the gorgeous cinematography of the snowy urban scapes.

Its a good movie but the ending was stupid . I thought they would get together and bbe happy you would think with all the sex they had. People say emotions are complex and this movie exactly postures it. The characters have done an amazing job which makes one connect to the actual situations in a very normal unforced natural way. The more the time is running it shades out from erotical romance to an unsettled unspoken life darkness. The best part of the movie that all of this is done more from the pauses and expression than the words in every situations.

I really loved the movie from the start to the end focusing more on the instability and sensitivity of the characters through few touches of forbidden romance.

The plot is interesting, GSI isn't usually a subject that prompts an entire film and seeing the trailer only made me more interested.

The film however is kind of dull. I wanted to see more scenes with Charlotte and Henrik, to have them at least talk about what they're doing and the consequences.

The ending was atrocious.

More sex than in any other erotic movie like Fifty Shades.

This is Fifty Shades of OMG YES

Anne Sewitsky's Tabu (De nærmeste) is a deeply empathetic portrait of emotional need and blurred boundaries. Exploring the taboo of half-sibling romance, the film carefully navigates its provocative premise with more nuance than I expected.

Charlotte, plagued by abandonment issues, is drawn to her self-absorbed half-brother Henrik. Their relationship is less about shock value and more about two people reaching for connection in the wrong places. The film's real strength lies in Ine Marie Wilmann's quietly powerful performance, anchoring the narrative with vulnerability and emotional depth.

While the theme may stir discomfort, Tabu gladly isn't interested in moralizing. Instead, it offers an unusual family drama about desire.