Solomamma: Review by Esra Kars

The Two Parents Meet After Having Children

A curious journalist decides to find her son’s father

By Esra Kars

Janicke Askevold, who addresses changing family and relationship models in the modern world, delves into the depths of being a solo parent. She portrays the new problems of the 21st century and expresses them in a language appropriate to the era. The director, who states that she drew inspiration from real lives, presents a work worthy of discussion by gently yet thoroughly examining the stories she has fictionalized.

Edith (Lisa Loven Kongsli) is a journalist living in Norway with her young son and mother (Celine Engebrigtsen), who has dementia. Edith, who has two people to look after, begins to worry that she cannot look after her son on her own. The absence of a father in her mother’s life, her own life, and her son’s life is a kind of repetition compulsion.

She decides to break the genetic transmission cycle and meets the donor, Neils (Herbert Nordrum). However, as time passes, these meetings raise another question: Could two people who had a child as strangers have become a real couple, had they met under different circumstances? Edith finds herself increasingly trapped by such questions and gradually drawn into an untenable situation.

Although the film’s atmosphere has strong potential thanks to Torjus Thesen’s impressive cinematography, it unfortunately fails to deliver on its promise. There are some technical issues, particularly with the color, editing, and script. In most scenes, the locations and emotions could have been conveyed much more effectively, but the color grading is inadequate and therefore fails to make a sufficient impact on the audience.

In the screenplay, the length and rhythm differences between sequences are quite noticeable. The inclusion of scenes that do not contribute to the story prevents the film from being compact. Despite being an important subplot in the film, Trine’s (Trude-Sofie Olavsrud Anthonsen) story and her relationship with Edith are dealt with rather superficially.

One of the film’s most significant problems is its editing style. Particularly during the final ten minutes, it gives the audience the impression that they are watching a final scene. However it continues, reaching a conclusion in the viewer’s mind well before it does on the screen, weakening the connection between audience and story.

Despite various technical issues, Askevold successfully addresses the fear of inadequacy experienced by many mothers. It leaves a lasting impression on viewers, particularly thanks to its unconventional storylines and shooting techniques. Thanks to its original directorial style, which complements its subject matter, this film stands apart from its peers.

The feeling that a woman can be a good mother on her own is commendable. After all, Solomamma is a good example of feminist cinema in terms of its female-centered approach. It is hopeful for women who are alone, not only in motherhood but also in life.

Director: Janicke Askevold
Writer: Janicke Askevold, Jørgen Færøy Flasnes, Mads Stegger
Cast: Lisa Loven Kongsli, Herbert Nordrum, Celine Engebrigtsen, Trude-Sofie Olavsrud Anthonsen
Running Time: 99’
Country: Norway, Latvia, Lithuania, Denmark and Finland
Year: 2025

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