Oh, this Scandinavian color with its melancholy: harshness, coldness, minimal manifestation of emotions (emotional stinginess, stiffness of emotions), languish. However, surprisingly, the bed scenes of the girls turned out to be bright, sensual, in contrast to the whole action. And the second half of the film is more lively, or saturated,
more
Oh, this Scandinavian color with its melancholy: harshness, coldness, minimal manifestation of emotions (emotional stinginess, stiffness of emotions), languish. However, surprisingly, the bed scenes of the girls turned out to be bright, sensual, in contrast to the whole action. And the second half of the film is more lively, or saturated, because of which I scored a point. I would not reproach this film with a lack of words, this is all because the heroines account for a considerable part of the dialogue - when relationships are formed, develop and when a crisis occurs. Thanks for the Happy End. After the gloomy ending of another film, in something similar to this and the same theme, there were fears that the finale would be sad and everything was going towards this. Both seemed willing to accept the fact that they could not be together. But love took over. What I don't understand is why there wasn't a fight for Mia, for the right to be with her, either on the part of her new passion or a potential fiancé. Both characters were released “easily.” At least 1-2 attempts were made to change something. You could fit this into the allotted 1.43, shortening some episodes. What did the relatives expect? That Frida will be prudent, that will not go on about the feelings that can suddenly flare up and these feelings supposedly should not have arisen in principle, since she herself experienced betrayal in a relationship!? And the father is also good, disowned the news about the unconventionalness of his daughter, as if a priori this could not be. Because she's engaged? How well does he know how close they are?
|