Sick of Myself

Signe is the girlfriend of artist Thomas, who is having success with an exhibition at the gallery «Cotard». Signe likely thinks that some of his glow might rub off on her, but is clearly green with envy. Attempts to give the impression that she is some kind of co-creator are unsuccessful. Signe is becoming a freeloader in her boyfriend's life and a supporting character in her own. After some searching online, she orders the Russian drug Lidexol: neon-yellows pills with insidious side effects, including visible skin disease. By damaging herself, she plans to reclaim the attention.

Sick of Myself offers no diagnosis, the film is just a symptom. And that's the whole point, or what? With his second feature a director and screenwriter, Los Angeles-based Kristoffer Borgli returns to his home country to capture the present via Oslo's art and culture circles. Sick of Myself discusses themes such as identity shopping, social reward systems, attention economy, diagnosis hysteria, body dysmorphia, body positivity, and «woke».

(Excerpt from Lars Ole Kristiansen's analysis of the film at Montages.)