Demring Film Review – A Deep Dive

Contrasting images in black and white, artistically composed by Andreas Johannessen in an unusual image format à la Robert Egger’s “The Lighthouse” (2020). Øystein Grenis (Bigbang) unpleasantly sounded film music.

A narrative voice that uses foreign words in a way that feels artificial and alienating. A type of language that is continued as the camera takes us into the remote family cabin where large parts of “Demring” will play out.

There we meet sisters Esther, Cecilie and Kristine, played by Marte Magnusdotter Solem, Silje Storstein and Kathrine Thorborg Johansen, as well as the former’s husband Even (Sigurd Myhre). The tone between them is wordy and surprisingly spiteful, not least considering the underlying reason why they are here:

Kristine, the youngest of the sister, has recently survived a second suicide attempt. She carries her depression and bandages around her hands as a noble mark, and is obviously of the opinion that she is more sensitive, and thus also more intelligent, than the others.

While Kristine is out and chopping tile and taking a smoke, there is a phone call from civilization: The sisters’ mother, with whom they all had a difficult relationship, is dead. She was probably an actor, and at least Holden enough to have owned this cabin and given each of the daughters an apartment.

Esther and Cecilie make a foolish choice: They do not tell Kristine about what has happened. At the same time, while Kristine is nailing and smoking, a mysterious man appears in the shine in the forest: Lukas (Thorbjørn Harr). He stands there staring, and then he’s gone.

Anyone who has seen a movie of the Austrian champion, Michael Haneke, understands that in the long run this is bad news. But first, “Demring” will be through one hour where most of all it appears as a (much) more talkative modern version of an Ingmar Bergman drama from the Swedish champion’s heavy period.

I mean – three sisters standing and looking out the window. A claustrophobic chamber game about dysfunctional family relationships.

Patrik Syversen is a director who can well take care of more streamlined and assumed commercial projects (“Predator”, 2008 and “Help, We are in the film industry”, 2011, in cinema; “Kielergata”, 2018 and “Sigurd get no desk”, 2021-2022, on TV). But that also sometimes gets the opportunity to release the film nerd. He did it in “What Once Was” (2016). And he does it in “Demring”.

After a terrible event about one hour out during playing time, which is served us from several perspectives, changes “Deming” pasture and is partly a psychological horror movie and partly a shocking and cruel but not very exciting slasher.

The flashbacks of a breakdown during a tiring sister dinner are in color. The clip is becoming more neurotic. The discussion around the table is about the multiverse, as demonstrated in the animated film “Spider-Man: Across the Spider-Verse” (2023) and religious beliefs and doubt. Even turns out to be pompous and unsympathetic. HP Lovecraft and virtual reality Entering the chat, the word “transrational” is launched.

I tucked when the violence was ugly, but otherwise should not claim that I always hung in the turns. Don’t know if that was the point either. For a normally interested as the undersigned, “Demring” was a stylish and well -played but tough experience.

Audiences who live and spirits for horror, especially of the “pupils” and genre -crossing the battle, and who often see that more such things are made in Norway, can know their visit time.