Joachim Trier’s direction of Thelma (2017) creates an outstanding, yet accessible psychological thriller set against a backdrop of the supernatural. This film is quite difficult to place within one genre due to its interplay of drama, thriller, romance, and horror. It epitomizes a powerful coming-of-age story, impressive through its unique portrayal of repression and epiphany. Thelma received critical acclaim, winning 14 awards at international film festivals such as Norwegian International Film Festival, Méliès International Festivals Federation or San Diego Film Critics Society, solidifying its status as a standout piece in contemporary cinema.
The film’s unsettling tone is established from the very beginning with a father-daughter trip into the Norwegian wilderness, where it remains unclear who is truly the prey. The unconventional family dynamics set the stage for an intriguing narrative, which unfolds further through a time jump that shifts the focus to Thelma’s (Eili Harboe) college experience. It becomes clear that she comes from an extremely religious family, which imposes some difficulties on her adaptation to such a free lifestyle and the opportunities of self-discovery that come with it. This unfamiliar process coincides with inklings of supernatural abilities tied to unexpected seizures and triggered by emotional distress, sexual awakenings, or by sheer willpower.
Her parents, played by Henrik Rafaelsen and Ellen Dorrit Petersen, add to the anxiety prevalent in Thelma’s life and to the viewers’ sense of disturbing secrets that are trying to be brought to life. The presence of Anja (Kaya Wilkins) further unravels Thelmas’ life and perspective on sexuality, religion, and sin, acting as a catalyst for the remainder of the action. Her telekinetic outbursts are in clear connection with her internal struggles and the ominous nature, which plays a defining role in Scandinavian art. Moreover, these episodes are also influenced by moments of losing control, crisis of faith, “sinning”, and moral transgression, underscoring the film’s religious tension.
Eili Harboe delivers a performance of extreme believability, expressing visceral emotion and reactions to guilt, remorse, and anger. Everything from her scenic movement to her tone of voice contributes to the deliberately slow pace of the movie, enhancing the uncomfortable quietness that keeps the plot alive. The tension-building process is accompanied by short increments of musical features that add a pulse to the film, making it all the more tangible. Additionally, Trier intensifies the action and the Carrie-like supernatural outbursts through striking cinematography, seamlessly shifting from wide shots to close-ups. However, these supernatural elements are not used in a cliché way, but in a compelling, serious manner, without accelerating the pace, and maintaining the patience the film needs to allow the story’s details to unfold naturally.
The religious intertext and symmetrical form offer a lot of material for contemplation. Scandinavian cinema is deeply concerned with corporality and colour, mostly neutral or cool tones when it comes to the depiction of the atmosphere and convincing storytelling. Nordic literature, theater, and film have long established their reputation by exploring the complexities of the human psyche and soul, often centralizing existential crisis, angst, and despair. In this tradition, Thelma creates new spaces of visibility in which loneliness and uncertainty prevail over the character’s life and are immanentized.
Ultimately, Thelma constitutes an aspiring piece of visual art that dissects and redefines identity as we know it. The film leaves many questions unanswered, offering a story that will linger in the viewers’ minds and invite them to further reflection. I strongly believe that such cinematic pieces can provide emerging filmmakers a perspective on genre ambiguity and fluidity, powerful dialogue, evocative imagery, and even reinterpretation of established tropes. The persuasiveness of the actors’ performances and consistent, striking visuals maintain an engaging standard throughout the film, leaving it open to analysis and (mis)interpretation.
Written by Chis Iulia-Maria — 1/3/2025