‘Sick Of Myself Review: A Disturbing Satirical Body Horror Film About How Far Someone Will Go For Attention
© Memento International If Lars Von Trier wasn't so influenced by the myth of his own self-importance (I'd say he was in 2009's Antichrist), he could have made a movie as sick as Me. - a film reminiscent of Von Trier's Idiots with David Cronenberg, a creepy body horror drama with a touch of social satire and a bad boy flavor. This is the second film from Norwegian writer-director Kristoffer Burlin, whose debut film Drib (2017) introduced the marketing industry, and in some other ways the new film is also about marketing. However, this new addiction to social media offers a very sad view of how far a person will go to get attention.
The film, which premiered at Cannes last year, is being produced by the same team as The Worst Man Alive, and part of the offbeat way the film stays with you is through a very similar neutral visual puzzle. Scandinavian bourgeois air. The film is also set in Oslo and tells the story of a young couple who live together: Circea (Kristin Kugat-Thorpe), a waitress with a harmonious aura, and her boyfriend Thomas (Erik Stetter), an artist who wants to be beautiful. Licentiousness is subject to public shaming. Earlier, they were at a restaurant celebrating Simi's birthday when Thomas took the opportunity to make off with a $2,300 bottle of wine. His art works with the same motivation: he builds from stolen furniture, creating monstrous installations to find the next big moment.
But "Sick of My Own," Thomas's wholly self-indulgent program, is such a simulation story, and the soul so flourishes, that the audience takes a moment to register what's happening to it. When a passer-by walks into the cafeteria where Simin works with a dog biting his throat, she heals him and possibly saves his life—a Samaritan act, even as it attracts Simin's attention. The famous insect bit him. At dinner with Thomas, he devises a way to distract her: a nut allergy attack and a throat gag that drains all the energy in the room.
Let me say right off the bat that I am on the verge of writing a movie. This fake allergy attack is something only a severely addicted narcissist would do, and Borelli, as a director, had no way to prove that Signet was that kind of person. If my illness was a "psychodrama", it would be impossible to believe. But while this movie isn't exactly fantasy, it's a very scary movie with brilliant logic at work, and it's hard to argue with because it's just as startling in its own right. level. It's really a monster movie, Sin, the Doctor like Jekyll or the Wolf Man, it's a monster that changes radically in itself.
Seni, intrigued by a new display ritual that puts her on par with Oslo art star Thomas Humbert, receives news of a Russian anti-anxiety drug called Lidesol. The dreaded side effect is a rash that looks like blood vessels that oozes out of the skin instantly. Signe meets a neurotic drug dealer (Steiner Kloman Hallert) who can find anything you want on the dark web. She ordered a batch of Lidesol, and as soon as she got her hands on the big yellow pills, they started popping up. They develop spots (eyelids down in broad daylight), but immediately develop a rash that looks like red calluses that grow on the hands and face. At first it could be a tattoo. Then the wrinkles become deeper and unsightly. Then she started looking like an accident victim. It's Night of the Ugly Live.
In old horror movies (and most new ones), the hero is actually the victim. He doesn't choose to be a vampire or a demon slayer or anything like that. Still, Sini has decided to become Oslo's biomedical elephant, and the horror of that choice —the psychology —lies in my patient pursuit. Wrapped in bandages, Seni cries for the grace of God in her circle, then it becomes a public sacrifice, then news, then big news. He, like anyone else, knows what he wants to see. Accept sickness instead of health. He prefers corrupted testimony to unknown horror. Now he is obsessed with the tabloids. But he is also a star!
In most horror movies, the VFX team creates the final digital delight, but my VFX team, led by makeup artist Dimitri Drakopoulou, does something simple and technical. They make the gradual deterioration of Simin's personality brutal and realistic. Christine Kogat-Thorpe, under this make-up, gives a hideous performance; Simin shows us that he is caught in the agony of how he feeds her. This pushes "Sick of Me" into a different shit, into an even bigger dead end. As Xin became famous, her image became fashionable and she was embraced by a whole new push in fashion. She's joined the marketing campaign for a new, gender-neutral line (in a commercial shot to dance music, she stares into the camera and the line reads, "It feels good to me no matter what"). Satire is a particular style, but when it walks painfully around the edges, it's about one thing: how Simena uses the sick image she creates to replace herself. Because he thinks it isn't.
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