On paper, the prominent use of sensitive American singer-songwriter music from the 1970s and ‘80s in a modern Norwegian romantic comedy might seem rather incongruous, if not downright anachronistic…
On paper, the prominent use of sensitive American singer-songwriter music from the 1970s and ‘80s in a modern Norwegian romantic comedy might seem rather incongruous, if not downright anachronistic.
“I’m establishing a language of music in the film early on that this is going to be like a playlist,” Trier says. “Cross fits emotionally to the scene. It’s not only going to be about the cultural references. I think that’s OK. We live in retro culture, and there’s a freedom to that.” Adds music supervisor Goran Obad, “We wanted music with the duality of being singable but also reflective of a deeper state and experience, which is the topic of the movie.
By his teen years in the ‘90s, Trier was cutting his teeth directing skateboarding videos that utilized Bad Brains and Herb Alpert songs in equal measure to “nail the feeling and elevate the visual.” After studying cinema at prestigious schools in Denmark and England, Trier released his first film, 2006’s “Reprise,” which made him a quick hero to a younger generation of global-minded filmmakers.
The generation gap is further illustrated in the preceding scene when Julie is dancing blissfully at a party to Amerie’s 2005 R&B jam “1 Thing,” only to have it turned off by Aksel’s brother in favor of the ‘70s cult classic “Bra” by British funk group Cymande. “He’s kind of the man-splainer who Julie’s not so sure about, but they’re having fun,” Trier says. “He breaks off her song and puts that on, and she goes, oh, it’s a good song too. They’re happy. They’re dancing.
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