2025 Sex Movie Review: In-Depth Insights and Summary from Roger Ebert

“Sex” is part of a trilogy by Norwegian author and director Dag Johan Haugerud. This film dives into the lives of two chimney sweeps in Oslo, whose names we never learn. One day, a man confesses to his boss about a fleeting sexual encounter with a male client. This sparks a strange conversation; the boss shares a dream where David Bowie looks at him as if he were a woman.

The film focuses on their attempts to figure out what their experiences mean. Much of the story unfolds through dialogue, similar to Haugerud’s first film in this series. His ability to showcase Oslo adds depth, turning the city into a living backdrop filled with relatable details that resonate with audiences.

Yet, the resolution leaves viewers hanging. Instead of addressing their evolving identities, the characters shift to moral discussions. The film wraps up with an unusual song-and-dance number, which feels out of place. The open-ended nature of the story may frustrate some, as it leaves critical conversations about sexual identity unexplored. It raises questions about masculinity and acceptance but never fully engages with them.

Interestingly, the dreamer from the film identifies as Christian. Throughout, there’s a subtle tension between faith and acceptance. His teenage son even points out that his dad avoids discussing his religious beliefs. This struggle mirrors that of his co-worker, who is trying to support his shaken partner but remains unaware of the deeper issues at play. This parallel begs the question of acceptance—both from oneself and from society.

While some scenes are rich in emotion, like candid talks between partners navigating trust and desire, they often lack the conflict necessary to make them memorable. For instance, when Røise’s partner asks if he was sore after their encounter, it becomes both uncomfortable and relatable. Yet, other moments feel forced, like when a character quotes Hannah Arendt, attempting to convey the film’s idealistic messages.

The film aims to explore tolerance, yet its delivery can come off as tone-deaf. There are poignant, silent moments that convey longing and isolation, such as when Røise watches his partner laughing with friends at a café. But strange lines can detract from the intended message, like an awkward observation about personal experiences being treasured privately.

Despite its shortcomings, “Sex” invites viewers into rich conversations about relationships and identity. It might just be the spark needed to discuss deeper issues, making it more than just a film—it’s a prompt for self-reflection and dialogue.

Source link