Året jag slutade prestera och började onanera (The Year I Stopped Performing and Started Masturbating) centers on Hanna (Katia Winter), a driven professional navigating a demanding career. Her high-achieving lifestyle strains her relationships with those around her. Deciding to prioritize her personal life, she resigns from her job to dedicate more time to her husband, Morten (Jesper Zuschlag), and their son. However, this decision proves to be belated, as Hanna’s life rapidly unravels. Through her newfound friendship with Liv (Vera Carlbom), Hanna begins to recognize the value of life beyond professional success.
Året jag slutade prestera och började onanera marks the directorial debut of producer Erika Wasserman, known for her work on films such as Gräns (Border). The screenplay is a collaboration between Christin Magdu and Wasserman. I’ve had the pleasure of knowing Christin Magdu for several years, and I previously directed a short film she penned, titled The Pro.
Beyond its distinctive and memorable title, Året jag slutade prestera och började onanera delivers genuine humor. The film elicited several audible laughs, a testament to its comedic effectiveness. The film navigates potentially awkward scenes with finesse and a delicate balance, avoiding common pitfalls that can render such moments clumsy or ineffective. A particularly memorable scene involves a Bluetooth speaker activating at inopportune moments, and its resolution showcases the strong comedic sensibility of Wasserman and Magdu.
The performances are consistently strong, led by Katia Winter. Winter, following a successful international career, has recently returned to filming in Sweden. Her recent work includes a role in The Boys. She capably carries the lead role, delivering a nuanced and compelling portrayal of Hanna, the driven workaholic. Vera Carlbom, known as a singer, makes her acting debut as Hanna’s friend Liv, providing a genuine and engaging presence throughout the film. Even Henrik Dorsin delivers a restrained yet humorous and believable performance as Hanna’s demanding boss.
One minor critique of Året jag slutade prestera och började onanera is that it doesn’t fully capitalize on its emotional potential. The film’s chaotic narrative could have benefited from greater emotional depth. Furthermore, Hanna’s sudden financial destitution, attributed solely to purchasing a sofa, felt somewhat contrived. While the need for her financial straits is understandable for plot purposes, it could have been established with greater subtlety.
In conclusion, Året jag slutade prestera och började onanera is an enjoyable and distinctive dramedy that stands out from conventional films. I recommend experiencing this unique offering in theaters and eagerly anticipate future projects from this creative team!
