The film “Sex” is the first part of a trilogy by Norwegian director Johan Haugerud, created last year. This film presents a different narrative on infidelity, a topic that has always been one of the fundamental challenges in human relationships. The story revolves around two male colleagues who continue their old job of cleaning chimney flues; a profession that takes on new meaning within the context of modern towers and apartments, illustrating the clash between tradition and modernity.
The film focuses on the lives of two middle-class families; simple yet capable families engaged in respectful conversations about the boundaries of infidelity, lust, and inner emotions. This characteristic adds a thoughtful and philosophical layer to the film’s narrative, elevating it beyond a mere family story.
The characters represent two opposing viewpoints: one is a man who is skeptical of religion and considers casual sexual relationships to be normal, viewing sex without love as a violation of loyalty; the other is his religious colleague, who grapples with contradictions and inner temptations. His behavior during a scene involving the moving of a refrigerator, where he even involves his son and causes injury to his hand, symbolizes the unconscious influence of lust on seemingly humane behavior in helping others and its reflection in family life.
This contrast is also evident in emotional relationships: the religious man, when faced with a music teacher, instead of reciting the usual romantic verses, hums a religious piece. This change signifies the struggle between his faith and his true feelings.
Haugerud creates a world through consecutive long shots of urban landscapes, roads, and tunnels, as well as the use of contrasting colors in costume design— red (temptation and danger) and blue (faith and tranquility)—where desire and ethics, tradition and modernity are in constant conflict. The limited locations and
long, deep dialogues between two characters evoke the films of Bergman and Woody Allen. However, the wounded woman, contrary to common stereotypes, does not seek advice from a therapist but instead confides in her friend. The omission of repetitive therapy scenes and the choice of an intimate conversation
in a café is a distinctive and impactful decision.
Ultimately, “Sex” is not just about infidelity; it offers a portrayal of the contradictions of contemporary life. The film challenges the audience with a direct question: in a world where both tradition and modernity coexist, what is the true boundary between faith and ethics?
