Love is perhaps the greatest “madness” that a human being can get involved in. And that’s why movies that talk about romantic relationships attract so much attention from the viewer.
Director Tuva Novotny uses some scenes from documentaries about wildlife, and shows the life of failures and achievements of a marriage in the film ‘Diorama’ (2022). She doesn’t really care about making the myths about life together last in this fun and enriching version.
The coolest thing is that the audience has the freedom to play in that parallel world, very similar to real life for many.
The approach of Björn and Frida happened naturally: they met, became friends, fell in love, moved in together and the children soon came. Director Tuva Novotny brings the importance of the sociological component, the tendency of relationships between two to always end up corrupted by boredom. The characters of David Dencik and Pia Tjelta resent not being able to have a good relationship in their courtship, always surrounded by their children in their youth.
In a firmer intimate conversation – which almost ends in discussion – Frida addresses the subject and the need for each to do something without the other being together, to maintain and encourage a taste for freedom, privacy, so that there is a certain mystery that tempers the unions when they start to become dull, unbearable. In the same week, they go to their appointments without having their spouse around. So everything was fine, in harmony.
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In one stage, Novotny joins dialogues and sequence shots with the aim of extending how the lives of its protagonists are going to be with the separation, which was motivated by Tjelta’s adultery. The story shows ideas of machismo and repulsion by choosing to give disproportionate emphasis to Frida’s infidelity, without showing that Björn, has his share of blame – not to justify her betrayal – for feeling suffocated in a marriage that silently slips away, with his attitude, such as planning motorcycle trips with friends, without wanting to know her opinion about it.
In addition, he also participated in intimate coke dinners and friends who were very ‘uninhibited’. So, the traumatic parts that we all already know, divorced or not, continue to be jealous and heartache of the ex-husband, which creates many obstacles for the ex-wife now, until judicializing the issue and demanding exclusive custody of the children, the which causes great resentment from Frida.
With the slips, almost always related to the unfair defense of the masculine side – to the dioramas with actors dressed as wild rats, skunks, tamarins – Novotny’s work has its grace in giving lightness to such difficult subjects. The final part, which shows a late show that explains the zoological dramatizations, gives an air of humor that is a bit dull, which exalts the initial message of love as ridiculous, pathetic. If love is not a promise of happiness for two, marriage is the last escape from the madness of love. For better or worse, but it must be for good, of course.
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