de ‘incel’ to disguise as santiamén

It is no wonder that this Norwegian production arrives at the Barcelona festival, it can be part of the scream like the alarm siren of an Atlantic liner that is thrown with a bruise in a pilot that brings together the best of this short and directed proposal (only four episodes).but there is a long way to go to fill the agenda of urgent topics to be addressed.

Tom (Anders Baasmo) is a middle-aged man who has inherited the humble reign of a clothing house owned by his mother, now he has entered the residence. Spend your free time hanging out Internet forums and websites This table of contents could be used to draft the election program of any ultra-party party.

At this time anti-awakenedemancipated women are perceived as an adversary, as one of the great problems of the decadence of Western societies: manipulation, dominance, subjugation… Tom hides behind a couple of pseudo-people who use this as a platform for their misogynistic proclamationsHere is a list of precepts dictated by Andrew Tate, the guru incel; For anyone who doesn’t know, he’s an involuntarily celibate man, a saint who wastes his femininity by not being able to etch dust. Not soy, I’m ellas.

His hits on the red vacillate between grossness and straight-up entertainment, but words and more words are one thing. Or so I think Tom, who does not dare to stand against the lively comedian Stensvaag (Ingrid Giæver) with the following comment on one of his Instagram posts: “Here is the less charming girl from Norway. We’ll do you a favor and fix your intended breach. Come to the public, I’m the one who doesn’t know”.

The intimidating message has a tinge of anxiety, so when some of the audience members attending their show don’t respond to the questions they ask Live from the stage, they immediately reach a state of possible attack. A victim of anxiety, the humorist is attentive to the medium and spreads the message as well as her authorial alias. Tom’s identity does not take long to reveal itself, and within a nanosecond the lover begins to transform into an object of desire for the media (and the authorities).

Tom knows what, hounded by the press, hounded by the police and condemned to a public outcry It was disabled when accessing the current life. It’s the invisible card we’re all (cases) born with that allows us to enter a bar, go to university or work because none of us can ever be cancelled.

‘A Better Man’ presents a story with an enviable pulse and the height of improbability

From now on, Tom enters the eighth circle of hell and his life turns into a divine tragedy. Suicide seems like the most reasonable option, but not all of the world has the arrests or skills to satisfy an interrupter who ends up in the world’s cruelty. A refugee in a family home, the only solution to free yourself from the embarrassment in which the only way to build a new identitywrite a detailed biography of your past to help you survive in the area around you who have been banished.

Tom comes to the door of his business clean-shaven, wearing loose-fitting clothes, plush clothes and low heels with the name Brite on them. From now on, when I walk past the heads of the company, she ends up with the risk and violent realization that many women face in their daily lives. De incel in disguise for five minutes. Everything told with an enviable pace and especially the sudden transformation of the character to the peak of improbability.

The subsequent development reflects many of the expectations expressed in the opening chapter, as Thomas Torjussen, the creator of the series, is more concerned with revealing a number of interesting themes than exploring the limits of his main character.

It is observed, for example, that PUSH multiplication of viewpoints. Yes, at first A better man It is explained starting from the perspectives of Tom/Brite and Live, in which it presents a relationship of two directions that combine the theme of crime and subsequent redemption with a small path of correction through dialogue between victim and victim, gradually expands the focus.

On the one hand, starting with the second chapter, the story of Audun (Jonas Strand Gravli), Tom’s older son, we disassociate the main plot and assume his own autonomy, so that the ending is resolved by his return to the main story caudal.

Audun is the first father honored by repression In the ominous environment of gay saunas, you will find a large escape valve. A round man who finally finds a way to express all the frustration that arises in his most sought-after evenings.

In the third episode, the dramatic story begins again, we can tell the story of Marie/Ieva (Irena Sikorsyté), a Lithuanian actress dedicated to providing virtual romance to men over the Internet and the false promise of true love in exchange for money. As we see in the aranque, Tom is aware of his sacrifices. This scam is the woman who will make you settle your concerns about the arrival aimed at Live.

This expansion of the story serves a clear purpose. It deals with clarifying issues such as gender identity, the dark workings of the porn industry, the problems associated with the transformation of the pixel into a body as one of the risks that exist on the Internet, the growth of the machosphere, the recurring and eternal secrets of abuse that are given in the world show business or fear of returning to commit credible actsincluding those prone to being seen as criminals, thereby gaining recognition in the male community.

Take one of these cues from an independent camerabut here all the pieces appear in an attempt to show the connections between them. Brite entered as an assistant at a center that cares for female victims of all types of violence—a group she quickly joined—in terms of the cautionary goals Torjussen was pursuing.

At the end A better man nos habla del derecho changeabout the possibility of getting back together and the need to express one’s feelings, about the desire for a final redeemer for its four main characters. The understanding that develops between Tom and Live begins with a dialogue that arises from the double complexity of guilt. It is certain that the series is unequivocal, without room for disagreement, because when moments between opposites are produced, you have no room for confrontation, Tom can reveal the belief in the opposite that he acquired during his life as a woman. Don’t look for debate, but ejemplaridad.

On visual notes, Thomas Torjussen and co-director Gjyljeta Berisha work on the concepts of construction and deformation, seeing it as a necessary step for reconstruction; It is decided, not in a pleading sense.

Moose oppressive interiors — the way apartments, caskets, and hospices are filmed — are reminiscent of the existential suffocation that assails Tom from the moment his identity and nefarious cyber activities are made public. Another recurring visual motif is encountered in the use of objects that are not like fairy-tale surfaces that reveal our image, but also like a twenty-one that allows access to the true state of consciousness of Tom/Brit, the owner of a fluid, shifting identity. The conclusion of the first episode serves as a summary of these two notes.

Asistimos, pues, a the constant redefinition of the protagonist reached a final transformation (about this insistence on deformation), which is not as true as with physical conversion, here we read about stories that approach trans realities, as well as a learning process that aims to define a new cosmovision of the supremacy postulates that established traditional masculinity.

A better man es, en su suma, a call to develop this feminine side that we keep in good focus in some place of our cerebral cortex. Also, the challenge to combat this affective repression modulated by active pedagogy and decades of oppression that, let’s be honest, white, middle-class heterosexual men has brought us comfort that many people ignore.