受够了自己 Syk pike(2022)

又名: 厌恶自己 / 病上瘾(港) / 我恨我自己(台) / Sick of Myself

主演: 克里斯汀·库亚斯·托普埃里克·塞瑟范妮·瓦格尔莎拉·弗兰西斯卡·布雷恩弗雷德里克·斯坦伯格·迪特勒夫-西蒙森斯泰纳尔·克鲁曼·哈勒英格丽德·沃尔兰安德莉亚·巴伦·郝威格亨里克·梅斯塔安德斯·丹尼尔森·李弗里达·纳特兰德古伊·哈根·格兰丝玛蒂尔达·霍格塞达·伊特伊丽莎白·伯克·阿舒霍格泰耶·斯特罗姆德尔

类型: 剧情喜剧

制片国家/地区: 挪威瑞典

上映日期: 2022-05-22(戛纳电影节) 2022-09-09(挪威)

片长: 95分钟 IMDb: tt18816518 豆瓣评分：6.9 下载地址：迅雷下载

简介：

仙娜眼红男友以盗取的设计渐见名气，她不惜狂吞在黑市买来的俄罗斯抗抑郁药，令皮肤出现恐怖红疤，以求引起身边人关注及同情，甚至渴望以受害者的姿态闯出名堂，可惜谎话说到连自己也真假难分，造成的伤害覆水难收。挪威导演克里斯托弗·博格利的黑色喜剧，将网络世代近乎病态的自我迷恋、渴望成名心理活脱呈现，对社会造假文化的嘲讽冷笑，不无透出丝丝刺骨寒意。

演员：

影评：

今天看了这部挪威片，“受够了自己”。之前有看过资料说挪威人是因为极昼极夜的影响而情绪病发病率较高，其实我是可以理解女主的，虽然她过于极端。谁不想获得别人的关注呢？或多或少罢了。就像花丛中翩翩起舞的蝴蝶群一般，看似亲密，实则又仿若互不相识，各安一隅，独自做着自己该做的事。一哄而聚，一哄而散人人都是自私的，平行的线出现的那一丝丝交点，那便是所有的耐心了。就如她男友在进行所谓行为艺术的偷盗行为时并没有在乎她的心理不适，在晚宴时会更在乎自己的演讲而不是女友的身体。而她也总是会在男友最重要的时刻因为感觉得不到关注而进行打扰，我相信他们是爱着彼此的，他们只是更爱自己罢了。这也就是影片开头所提到的自恋了。但往往，这种自恋的源头是因为缺爱。因为不安，因为恐惧，因为自己无法给予自己足够的内心支撑。我在观影过程中仿佛看到了我自己。一个因为童年懦弱而在长大后不停纹身，企图伪装出不惧外界言论，但依旧懦弱的自己。我不敢穿背心，因为觉得自己胖了，我在镜子中看到的自己是多么丑陋，即使旁人一直在讨论我有多独特 “不过是小丑罢了” 我会这么对自己说道不该这样的，应该多爱自己呀。道理谁都懂，可又有谁能够真的做到呢？ “多爱爱自己吧。” 我看着镜子里的自己，低头闭眼说道。 “多爱爱自己吧，至少睁开眼睛看看自己。” 至少，应该睁开眼睛，去度过自己的人生。睁开眼睛吧，不要害怕，我永远爱你。虽然受够了我自己，但我希望，我永远热爱自己。
The latest practitioner in filmic social satire, Kristoffer Borgli, like his contemporaries Joachim Trier and Ruben Östlund, is also from Scandinavia, he is Norwegian. SICK OF MYSELF is his second feature in which he sinks his sharp teeth into an extreme case of narcissistic personal disorder, which he marries strikingly with the body horror grotesqueries. Then he follows it with DREAM SCENARIO, an A24 produced, Nicolas Cage starring Hollywood calling card, hinges on a high-concept crochet that Cage's middle-aged professor, apropos of nothing, appears in many people's dreams, and how he navigates the instant fame and its underside, while leaving the phenomenon's inexplicability in the lurch.
In Oslo, Signe (Thorp) and Thomas (Sæther) is a young couple bound in a toxic relationship. Signe is the often ignored one while Thomas is a rising artist with a kleptomaniac penchant. Working as a barista and desperate needs validation, Signe's antics to get attention, including stealing the limelight from the self-absorbed Thomas, become increasing awkward and radical. From faking an allergy to voluntarily abusing a drug which can cause skin abnormality, Signe finally gets what she wants, attentions not only from Thomas, but also from the society at large. Her dysmorphia - a thunderstruck achievement from the make-up and prosthetics team (headed by Dimitra Drakopoulou and Ida Astero Welle), she shall be roundly cast in the re-re-booted Fantastic Four from Marvel - attains its newsworthy coverage and gets her a modeling opportunity for an unorthodox agency, but all is not well, the drug's pernicious effect begins to take a toll on her health. Borgli's satire takes an ambivalently unregenerate stance in the end after Signe comes clean with her self-destructive jiggery-pokery.
SICK OF MYSELF doesn't conduce to a comfy viewing. Signe and Thomas are two rather repugnant characters that are cut from the same cloth, borderline sociopathic, attention-seeking and blindly self-serving, which may well justify their co-dependency. As actors, Thorp, although resolute and plucky, is weighed down by Signe's hard-edged pretension whereas Sæther cannot register more than an air of faux-airiness that might be what the director wants.
While Borgli's social commentary is biting and accurate, he is quite inept at constructing character arcs, both Signe and Thomas are constants in terms of their behavior patterns and mental states, there are no learning curves. That could be a current Scandinavian trait, a frigid aloofness that also penetrates the films of Trier, Östlund and Ali Abbasi. As if the manifesto is "we are awful people, that's our raison d'être!", Signe can truly gives Joachim Trier's THE WORST PERSON IN THE WORLD (2021) a run for its money to claim the title.
In DREAM SCENARIO, Cage's Prof. Paul Matthews is an obverse of Signe. He is semi-content in his ivory tower until a sudden fame involuntarily catapults him into a trending celebrity, which he manages to milk for his own advantage. But as a proverbial knowledge, fame cuts both ways. When his virality turns even more bizarrely threatening and negative, is he capable of reconciling with it? Similarly, Borgli's script opts for a noncommittal way to wind up Paul's plight, and Cage's participation also harks back to the star's own notoriety as an internet meme years ago. But it is irksome when the ending arbitrarily cranks up the weird "dream scenario" to commodification without explicating Paul's phenomenon. All of a sudden, one can purchase the experience to enter another person's dream, but the grounds about our "patient zero" is frustratingly unforthcoming, the leap of scientific and technological advancement leaves an oceanic lacuna in Borgli's script.
Cage, resorting to play a neurotic ordinary Joe with baldness and humble get-up, evokes his two-fold performances in Spike Jonze's ADAPTATION. Here, he is even more anal-retentive as if assuming a Woody Allen-esque persona, and saddled with an unsavory encounter with a young woman Molly (Gelula) who coyly proposes him to re-enact the sex act in her dream (a proposition Paul doesn't resist against his best judgement and of which he makes a pig's ear). Paul is more sympathetic than Signe in SICK OF MYSELF, but not by much. Julianne Nicholson is overqualified to inhabiting Paul's garden-variety wife Janet, conveying that she is not going to stick around if he is in a spot. Michael Cera is quite persuasive and funny as the marketing-savvy, product-placement-oriented Trent, one only wishes he would have had more sceneries to chew as a contrast to Paul's clodhopping reactiveness.
Both SICK OF MYSELF and DREAM SCENARIO are incentivized by Borgli's admixture of horror elements (body horror in the former and nightmarish jump-scare in the latter) injected into the stories's absurdity and black humor, which can be deemed a unique aesthetic on Borgli's part. Be that as it may, Borgli is no wunderkind, his keen sensibility to the signs of our times and a certain degree of facility in filmmaking aside, he has yet hit the bull's eye in his story-telling, in which there are bright ideas aplenty, yet to transubstantiate them into a script with coherence and credibility is something he should strive for.
referential entries: Ruben Östlund's THE SQUARE (2017, 7.9/10); Joachim Trier's THE WORST PERSON IN THE WORLD (2021, 8.0/10); Spike Jonze's ADAPTATION. (2002, 8.3/10); Ari Aster's BEAU IS AFRAID (2023, 7.2/10); Ali Abbasi's BORDER (2018, 7.1/10).
English Title: Sick of Myself
Original Title: Syk pike
Year: 2022
Genre: Drama, Horror
Country: Norway, Sweden, Denmark, France
Language: Norwegian, Swedish, English
Director/Screenwriter/Editor: Kristoffer Borgli
Music: Turns
Cinematography: Benjamin Loeb
Cast:
Kristine Kujath Thorp
Eirik Sæther
Fanny Vaager
Steinar Klouman Hallert
Sarah Francesca Brænne
Fredrik Stenberg Ditlev-Simonsen
Henrik Mestad
Andrea Bræin Hovig
Frida Natland
Anders Danielsen Lie
Ingrid Vollan
Seda Witt
Terje Strømdahl
Rating: 6.9/10
Title: Dream Scenario
Year: 2023
Genre: Comedy, Horror
Country: USA
Language: English
Director/Screenwriter/Editor: Kristoffer Borgli
Music: Owen Pallett
Cinematography: Benjamin Loeb
Cast:
Nicolas Cage
Julianne Nicholson
Dylan Gelula
Michael Cera
Tim Meadows
Dylan Baker
Krista Bridges
Kate Berlant
Lily Bird
Jessica Clement
Paula Boudreau
David Klein
Star Slade
Cara Volchoff
Noah Centineo
Nicholas Braun
Amber Midthunder
Lily Gao
Rating: 6.5/10
内心极其缺乏关注，像现在社会的人们，在网络上无时无刻的展现自己，甚至病态的展现自己来博取关注，扮丑，过度的美颜都是其中的一种，影片中更甚，把这种病态表现成了极致，她和男友是同一种人，都想在别人成功的时候想夺取更多的关注，这一点在开头吃饭的时候就表现出来了，被狗咬的人血喷了她一身的时候，同时她也前所未有的得到了关注，于是越发不可收拾，就像她说的觉得自己在糟糕的情况会表现得更好，想用这种反差来获得关注，于是病态的开始服药让自己生病，这和现在社会上人们不断往自己身上增加病症来寻求帮助一样，而最虚伪的时尚行业肯定也少不了这一席位，美其名曰不歧视任何，但是最喜欢打标签病态审美的人就是他们这帮人，少不了他们的推波助澜，她幻想着自己成名，幻想着自己被采访，出书，上节目，变成名人，可实际的痛苦只有自己知道
就像网络上那些鼓吹白幼瘦的审美一样，都是一种病态，真正受益的都是资本们，我们都是被割的韭菜
男朋友也一样，靠偷得来的名声，却又杂志采访，这换谁谁心里好受，都会觉得出名也太简单了吧，这也行？所以更极端的展现自己的方式来了
于是越是极端越是好奇，越是好奇，越是相继模仿，越来越病态，这就是我们的现实社会
这种片子也就只有北欧能拍出来，极端的自黑，极端的讽刺，不会像美国那种英雄主义，之前可能到采访说北欧人抑郁症最多，还很奇怪，在那样一个发达社会，福利完善的国家，风景又很好，可以说不用怎么努力，不用拼死拼活就能过的不错，在我们看来幸福死了，但也就是这样的社会会出现什么都不缺，物质上的满足之后的空虚，那就是心理上的极度匮乏，心理上的空虚没办法弥补，所以才会抑郁，渴求关注，要是像难民国家那样，每天活着生存都有问题的话，还哪能寻求心理关注呢，活着就不错了。
故事的开始就是从偷酒开始，渐渐向我们展示了一对病态的情侣：他们一起偷窃，男生以此来创作艺术，女生则在咖啡馆工作。而在这段关系里，男生的重心正在逐步从她身上转移到蒸蒸日上的艺术事业上，也因此她开始逐步变得病态。她买入了一种会使皮肤溃烂的药丸并且故意将自己毁容换取关注，满嘴的谎言，要求上头条，想成为模特出道…而这一切的虚荣心和对关注度的渴求与失望也逐渐摧毁了她的外表和健康…
【我就是为了海报上的镜头点开了这部片子】
一个满脸绷带的女人戴着墨镜吊着水抽着烟，看手机，感觉这个脸上的绷带毫不影响她这一种潇洒。看完电影才意识到这个镜头中的绷带简直是她的战利品和噱头，是她那一刻骄傲的资本。
这部电影用一个极端的例子讲述了一个需要关注的美女的毁灭，所讨论的议题其实正是时下很多人非常病态的心理，“博关注”。她既讨厌来自他人的凝视，又极度需要别人的注视。她要从对方看向她的眼光中得到崇拜，认可，珍视，在乎，拒绝那些质疑，猜测，否定和好奇的眼神。而她忽视的最重要的一点就是，这些正面的眼光的来源应该是她具有某种能力或者做好了某件事，而不是被自己夸张的自己，充斥着谎言和毁灭性的噱头的自己。
而且故事里的她还急需要伴侣的注视，他们亲密又竞争，都想要得到其他人最大的褒奖和关注，因此去互相打断竞争，同时他们又是最亲密的伴侣，想要不断的抢夺对方的关注。而显然先获得关注的男生对女生的无视加重了女生的病情，让她逐步走向了一个无法挽回的疯癫的地步，最终失去了身心的健康。
我很喜欢这个电影的美学，首先要说的就是【字幕】。片头片尾的字幕非常有平面设计的感觉(跟海报上一样），整个就拉着各个方面往艺术上走。加上男主是个艺术家，他们的家各种包豪斯的椅子，女主的服装，最后在博物馆的拍摄等等…美术我爱了！整个电影都透着一种不顾人死活的艺术性和极端性，配合女主的疯癫，完全不会让观众觉得不适，就很妙！
说实话我还挺喜欢这个电影的，又美又疯！不管是画面还是女主本人！虽然展示了一种很病态的状态，但讽刺也拉满了，还挺有借鉴价值的！