“Is there any MDMA left from New Year’s Eve?”– The eternal question.
Forever Now was inspired by a sound recording that director Kristian Håskjold made several years earlier, on the night he broke up with his girlfriend at the time. They decided to make an evening of it, and create an organic memoir of their last time together.
By having the forethought to transcend the present, this recording was used as the catalyst to the film we have now. It gives a nod to the hybrid nature of artificially enhanced sentiment, as our couple get high together, and toast instead of gripe. This takes us into William and Cecilie’s story, where the night is replaced by cerebral embroidery, and their home provides a canvas for departure, uncluttered by bitterness.
The past and present interchange as the high comes, and their flat becomes a place of celebration, inside a neurochemically enhanced backdrop of lucidity, random chats, joy, and the familiarity that first united them. William (Ferdinand Falsen Hiis) and Cecilie (Frederikke Dahl Hansen) are great castings, believable lovers, and have a natural reaction in-the-flesh when performing together.
William and Cecilie’s love is improvised, literally, but not without the truth that comes back in the morning. So Cecilie crushes up the last of their MDMA using William’s credit card, they drink it down, and instead of dwelling in one world for too long, Forever Now takes you along a bluesy soundtrack and into their trip. Their story is honest in its handling of relationships, and avoids the laissez faire lies that most dramas lean on for the sake of Disney cheers.
We are shown glimpses of back in the day, yet the skill in editing and dialogue provide a universal shorthand, surpassing the need for further exposition about why our couple are no longer. And the possibility of yet another overchereographed ‘breakup film’ is dismissed by the volume of layers invoked by the music, childlike regression, presentient desire, and the infinite myriad of emotions that William and Cecilie cycle through in their last weekend together.
This film is a 19 minute salute to the nature of recollection, how it alters the present, and the narrative of trying to combine the two worlds. Håskjold’s film can be about a hedonistic but gentle collapse of a relationship, a linear collage of millennial love, a sealike hymn that doesn’t avoid candour, or a pair of marionettes that can only communicate when under the influence. Yet, the audience is not commandeered down one road alone, since the tone of Forever Now is imbued with a rare level of understanding. The result is a cathartic rorschach, where instead of predictable melodrama, we are shown a one-off landscape.
Dir: Kristian Håskjold
Scr: Kristian Håskjold, Trille Cecilie Uldall-Spanner
Cast: Ferdinand Falsen Hiis, Frederikke Dahl Hansen, Henning Valin Jakobsen
Prd: Siri Bøge Dynesen
DOP: Christian Houge Laursen
Music: Jesper Ankarfeldt
Run time: 19 minutes
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