Happy, Happy

Happy, Happy is a captivating Norwegian film directed by Anne Sewitsky, winning the World Cinema Grand Jury Prize: Dramatic at the 2011 Sundance Film Festival. The story is beautifully narrated, rich in substance and character development, intimate and subtle dynamics, carrying an approachable simplicity which serves as a vehicle for complex themes, reluctant realities, latent desires, and intricate connections hidden between ordinary situations.

The film stars Agnes Kittelsen, Maibritt Saerens, and Joachim Rafaelsen. Agnes Kittelsen plays Kaja, an enthusiastic and optimistic school teacher residing in the picturesque, snowy landscapes of rural Norway. She lives with her aloof husband, Eirick (Joachim Rafaelsen) and their son, Theodor. Kaja's seemingly happy-go-lucky demeanor cloaks a sense of loneliness translating from her unsatisfactory marriage, which she battles with relentless cheerfulness.

The mirage of her lively world, however, is perturbed when a new couple, Elisabeth (Maibritt Saerens) and Sigve (Henrik Rafaelsen), along with their adopted African son, move into the vacant house next door. The contrast between Kaja's simple, rustic life and the urban sophistication of her new neighbors brings a stirring dynamic to the ordinary country setting.

Elisabeth and Sigve are urbane, cultured, and liberal, escaping to the quiet countryside to repair their strained relationship following an incident in their city life. The arrival of the sophisticated couple serves as a catalyst for stirring unspoken emotions and suppressed desires in Kaja's structured yet monotonous life. Affected by her neighbors' sophisticated worldview, fuelling her own desire for love and companionship, Kaja begins to question her marriage with Eirik, and her life overall.

As they befriend each other, the relationship between the two couples starts intertwining at various levels. The movie carefully treads humorous, heartwarming, and emotionally-loaded moments as Kaja finds unlikely solace and connection with her new neighbors. The human craving for love and acceptance, the echoes of loneliness, and the desire for a companion echo through Kaja's character.

The film presents an audacious exposition of everyday relationships, diving into the nuances of marriage, untold truths, and unfulfilled desires. One of the interesting sub-plots involves the relationship between the sons of the two couples, Theodor and Noa. Fascinated by his new friend's skin color and urban stories, Theodor, along with his friend, creates a role-playing game recreating scenarios of racial power dynamics. This subplot plays a pivotal role in the narrative, subtly reflecting the ignorance and innocence of the children's worldview while also portraying a deeper metaphorical resonance with the adults' dilemmas.

The performances in Happy, Happy are extraordinary. Agnes Kittelsen shines incredibly as the lead character, Kaja. Her wide-eyed charm, radiant disposition, and emotional vulnerability resonate strongly, leaving a memorable impression. Joachim Rafaelsen and Maibritt Saerens provide commendable support, fleshing out their complicated characters brilliantly.

Director Anne Sewitsky succeeds in striking a delicate, affecting balance between comedy and drama. Even though the film delves into dark, complex notions, it does so with a certain light-heartedness and endearing simplicity reflected in its title. Sewitsky uses humor to effectively underline the seriousness of the situations, creating a surreal blend of emotional nuances that strike both humor and heartbreak.

The element of music and the incorporation of rustic charm of life in the Norwegian countryside adds immensely to the tranquility, beauty and engaging nature of the narrative.

In its essence, Happy, Happy invites the viewers to take a deep dive into the intricate dynamics of human relationships and liberal societal norms. It presents a deceptively simple narrative, enriched with profound, existential questions, contrasted with a serene, snowy Norwegian background and brilliantly executed performances.

The film is marked by its rawness, intimacy, and its ability to find laughter amidst despair and emotional complexity. The story carefully explores the gray areas of morality, love, and companionship, ultimately offering a deeply emotional cinematic experience. Watching Happy, Happy is akin to reading a richly nuanced novel packed with a defining narrative, complicated characters, elegant dialogues, and clever literary symbols sprinkled throughout. It is a testament to Norwegian cinema's ability to beautifully narrate profound tales through a lens of simplicity and warmth.