Low Expectations

One could be tempted to joke about a film title like Low Expectations matching the mood going into the screening (particularly when one is in the middle of the chaos of a major festival like Cannes, whose Directors Fortnight sidebar hosted the world premiere of the pic in question). But such low hanging humor fruit is ill suited for what is a competent, affecting feature debut, one that is sure to prove helpful for Norwegian director Eivind Landsvik in traveling the festival circuit, just as his short film Tits – also a Cannes premiere – was in 2022.

The story revolves around music sensation Maja (Marie Ulven Ringheim, a real life singer – known as Girl in Red – making her feature acting debut), who one day experiences a mental breakdown that effectively puts her artistic career on indefinite hold. Overwhelmed by the pressures of fame and fandom, she returns to her hometown, under the watchful eye of her mother (Tone Mostraum), and gets a job as a substitute teacher to make ends meet. This new reality leads to dealing with depression, as well as new ways of self-discovery, with some help from colleagues and friends.

The title is thus an allusion to the sudden ordinariness of life now that Maja is no longer at the center of attention, and Ulven Ringheim captures that sense of waywardness with naturalistic charm. Much like her character, she’s entering a world she may previously have had little familiarity with, and she rises to the challenge with a performance that displays layers of maturity which aren’t always found in someone so young (she’s in her late 20s) tasked with such an emotionally demanding role as their first proper acting job.

Much like Maja, she also receives priceless support from the other actors, including Joachim Trier regular Anders Danielsen Lie, who gets to indulge his funnier side as a fellow teacher who is obsessed with Michael Mann’s Heat (he shares the obsession with a friend called Oscar, played by Snorre Kind Monsson who was also the lead in the aforementioned Tits). Of course, Danielsen Lie’s performance is measured enough to avoid becoming too broad when that topic is broached, and his recognizably understated intensity is also a helpful asset when it comes to defining the relationship between the characters, whose conversations strike the right balance between funny and emotionally potent.

Besides the actors, the star player is arguably cinematographer Andreas Bjørseth, working with Landsvik for the third time. Through his eyes, the picture matches the inner turmoil of its protagonist, conveying the highs and lows of her life in a manner that highlights the sadness of her situation while also pointing out the value in those ordinary moments we may take for granted and overlook in a world where even the most basic attention spans are at risk of becoming a thing of the past. Paired with a carefully judged screenplay that handles a heavy topic head-on without slipping into misery porn territory, the visuals help create a cinematic reality where the low-key elements are the most valuable tools at the director’s disposal.

Director, Screenwriter: Eivind Landsvik
Cast: Marie Ulven Ringheim, Anders Danielsen Lie, Tone Mostraum, Embla Berntsen, Snorre Kind Monsson, Clara Dessau
Producers: Synnøve Hørsdal, Lotte Sandbu
Cinematography: Andreas Bjørseth
Production design: Sunniva Rostad
Music: Frederikke Hoffmeier, Bendik Hovik Kjeldsberg
Sound: Gisle Tveito, Kristoffer Endresen
Production companies: Maipo Film, Snowglobe
World sales: Salaud Morisset
Venue: Cannes Film Festival (Directors Fortnight)
In Norwegian
105 minutes