In Swedish filmmaker Ernst De Geer’s ”The Hypnosis” (2023), audiences are drawn into a meticulously crafted world that mirrors the internal struggles faced by social introverts. The film delves deep into the intricate dance of human interactions, presenting social gatherings as both a celebration and a minefield of unspoken tensions. Set against a backdrop of elegantly staged environments—from lavish dinner parties to intimate living rooms—the mise en scène plays a crucial role in amplifying the themes of vulnerability and discomfort. Every detail, from the soft yet piercing lighting to the carefully chosen color palettes, serves to heighten the emotional stakes, enveloping viewers in an atmosphere that oscillates between warmth and oppressive awkwardness.
De Geer’s narrative meticulously explores the psyche of its characters, exposing their fears and insecurities as they navigate the often treacherous waters of social expectations. The film captures the unguarded moments that underscore the complexities of human connection, presenting encounters that are at once relatable and cringeworthy. Through a series of seemingly mundane yet fraught scenarios, such as the anxiety of introducing oneself to a stranger or the dread of consuming one too many hors d’oeuvres, it captures the essence of social anxiety in a way that resonates profoundly with those who have felt marginalized in social settings.
“The Hypnosis” elicits a unique blend of discomfort and dark humor, akin to the works of Ulrich Seidl or Michael Haneke. Viewers are left to experience a voyeuristic thrill as they witness the awkwardness unfold, squirming in their seats yet also empathizing with the shared human experience of facing judgment and fear of failure. Ultimately, ”The Hypnosis” transcends mere social commentary; it invites audiences to confront their own anxieties and consider the often unspoken barriers that complicate our interactions, crafting an unforgettable cinematic experience that lingers long after the credits roll.
In the opening scene, we are introduced to Vera, brought to life with remarkable depth by Asta Kamma August. Alongside her boyfriend, Andre (Herbert Nordrum), she prepares to pitch their app, Epione, which addresses women’s health issues at a prestigious competition. Initially, they appear to embody the perfect couple—successful, happy, and self-assured—but as the narrative unfolds, it becomes clear that their facade hides deeper complexities. Vera is expected to begin the pitch by recounting her experience with a blood disorder that emerged after her first period at age 11. Nevertheless, she harbors doubts about the opening but ultimately feels pressured to accept Andre’s vision, reflecting a lifelong pattern of conforming to others’ expectations.
The strain in Vera’s relationship with her mother adds another layer of complexity to her character. Growing up possibly under her mother’s control has shaped her interactions with Andre, who maintains an easy rapport with Vera’s mother. Although it is never directly stated, Vera’s decision to quit smoking likely reflects the influence of her mother’s and boyfriend’s disapproval, underscoring the external pressures that complicate her quest for independence.
The couple is to attend a seminar along with the other contenders in the competition to perfect their sales pitch under the guidance of a renowned acting coach Julian (David Fukamachi Regnfors) before the main competition. Before the seminar, Vera decides to attend a hypnotherapy session to quit smoking. Her transformation, while initially empowering, spirals into chaos, revealing how liberation from inhibitions can lead to unpredictable behavior. At first as a viewer, you admire her for speaking up to her authoritative mother and her getting an appreciative nod from Julian during the rehearsals.
As Vera becomes more erratic, Andre’s character struggles to understand and support her, showcasing the often challenging dynamics within relationships. Herbert Nordrum is given a difficult task as a boyfriend who can’t fathom what to make of the sudden perplexing changes in his girlfriend and that too on the eve of the most important moments of their entrepreneurial career. His efforts to fit in with a trendy crowd further illustrate the absurdities and superficiality of startup culture, where ambition often masks deeper insecurities and frustrations. Andre’s painstaking efforts are sliced through the middle when Vera takes her Chihuahua routine a little too far resulting in a tense confrontation in the bedroom and it all culminates in a critical moment, underscoring themes of vulnerability and masculinity.
What distinguishes this film from other narratives is its avoidance of common feminist tropes within the screenplay. While Andre’s toxicity could have easily been leveraged to justify Vera’s transgressions as a way to present a pro-feminist perspective, the screenplay maintains a delicate balance. The extreme humiliation Vera inflicts on her unsuspecting partner is consistently highlighted, ensuring it remains prominently in the audience’s awareness.
As the final scenes unfold, the audience is left in a state of suspense, grappling with the duality of Vera’s behavior—was it the remnants of her hypnosis or a deliberate act of defiance against the societal constraints of her social circle? The screenplay artfully weaves together subtle hints and contradictions, keeping viewers guessing right up to the climactic confrontation. With camera angles that shift dramatically into the “four face” technique, the audience feels the weight of secondhand embarrassment. Each awkward pause and flustered reaction from her peers amplifies the tension, prompting viewers to question whether Vera is truly liberated or merely spiraling into chaos.
“The Hypnosis” concludes without offering neat resolutions, compelling the audience to reevaluate their own views on conformity and individuality. With its clever blend of satire and psychological intrigue, the film stands out as an engaging exploration of social dynamics, making it a must-watch for those who appreciate challenging narratives and endings that invite endless interpretation.
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