This a repost of a review originally included in a round up. As of now, this film is available to rent or buy on Apple or YouTube.

The man-child has been the topic of comedies, and discussed in film writing, for most of the history of cinema. The brand of childishness in these men changes as society does. The recent trend is skewing toward adolescent man-children who still have the same sense of humor, a similar outlook on the world, and terrors as children do at that formative time (where some grapple with those issues persist into adulthood). Few films have likely, and none that I’ve seen or can think of, taken this character/problem type to a seriocomic place with such commitment and results.

If I had to venture a guess I’d say it’s the inciting incident of this film where (the event that propels the story and sparks conflict) most audience members will go along with or abandon it. If you go along with it and focus on characters, especially Henrik (Henrik Rafaelson), specifically what they want and how they go about trying to get it; then you’ll get into the film. The handling of it is mature even if the act was not: it’s about “what now?” and not “why?” A crossroads has been reached, and, thus, the struggle; the delicate balance of finding true adulthood without losing oneself, begins.

Rafaelson is especially impressive because it’s one thing to play an overgrown goofball and get laughs and another to then get introspective dour and try to assume new responsibility and maturity. He achieves both and engenders empathy as well. 

This film is a briskly told tale is one that never feels insincere whether in its stasis (when the young couple enjoys one another’s company and is content to lark about), or later when there is an ebb-and-flow, an attempt to change. Likewise, the film does not end with an insincerely sudden fairy-tale ending, but rather, at a new beginning; the dawn of a new-found maturity.