Director: Kristian Håskjold| Writer(s): Kristian Håskjold, Trille Cecilie Uldall-Spanner| DOP:Christian Houge Laursen |Producer: Siri Bøge Dynesen| Cast: Ferdinand Falsen Hiis, Frederikke Dahl Hansen, Henning Valin
After several years together, William and Cecilie break up. The same night, to treat the sorrow with love, they decide to do the drug MDMA together. For better or worse, this results in an emotional rollercoaster ride over a whole weekend as the two are isolated together in their apartment.
Forever Now (2017) is a love story. It’s an observation into the visceral, complex and confrontational connections between two people who love one another. However these two are breaking up, and it’s this particular catalyst that really aims to examine and evoke what love is. Does it really mean ‘forever’ – some unseen untouchable future? Or is it the now, the tangible present and the selective past.
Over the course of one evening William and Cecilie (Ferdinand Falsen Hiis and Frederikke Dahl Hansen) embark on a mutual celebration of their love. It’s seemingly progressive and even fun, compared to the usual tears and screaming that ensues. On one hand, it makes perfect sense – if you’ve really loved someone for so long why would you turn all of those intense, life affirming moments shared into a messy brawl within a few hours – surely it’s better to part on a high?
But life is not that simple; people are selfish, sensitive and vengeful; whatever William and Cecilie are selling feels like it’d be an incomprehensible reality for the majority.
The come up that dances on the edge of the film, scene to scene, is as gradual as the drugs that the protagonists have taken. Slowly, an intimate conversation between lovers soon to be departed, builds and erupts between a series of erratic dance scenes and euphoric flashes as the couple bask in gloriously cut together sequences that flit between tempestuous and tender times shared between them to the now. familiarity being in each other’s company. But the come down inevitably follows.
In the morning the warm nostalgic reddish-brown and beige colours that set the tone throughout the majority of the film have disappeared. It’s blue and gray, even their clothes echo this – it feels cold. They sit in silence eating breakfast, it’s awkward when it shouldn’t be. The lines and framing are rigid and their actions, mundane. William and Cecilia are no longer pressed against each other now they’re on either ends of the shot, never quiet in focus together. Is it subtext for the aftermath of the drugs? Probably, but it’s also the sad realisation that whatever they experienced then, is over, now it’s time to move on.
Angry words and frustrated confessions are exchanged. Love is still there, and the connection between them isn’t easy to let go of. But there is hope, a glimmer that even though their love in the romantic sense has come to an end, love as friends or something even more than can and will remain.
Kristian Håskjold?s “Forever Now” selected for Oscar qualifying Film Festival Palm Springs International ShortFest