Noticing her husband Ivar's new scent, Anne lies awake at night with a nagging question: should she leave him?
With Ivar snoring beside her, she turns to the camera and shares her frustration, and through a stream of thoughts and fast-paced montages, she lists everything that's wrong with him. It all builds to a full-blown rant where no detail is spared. But when she wakes Ivar, and he sits there drowsy and bathed in moonlight... isn't he kind of lovely, too?
A change in her husband's scent sends Anne spiraling into a late-night existential crisis
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Markus Tangre is a director and puppeteer based in Oslo, Norway. His creative, dark-comedy style and meticulous attention to detail shines through in every aspect of his work, from Röyksopp music video speed_k1ng to his debut short film Ivar.
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CAST
Anne: Tone Mostraum
IvaR: Robert Skjærstad
CREW
Director: Markus Tangre
Screenwriter: Signe Dammann Anker
Director of Photography: Rasmus Skaaret
Producer: Rebekka RognøY, Henrik Zwart
2D-animator: Steph Hope
Puppeteering: Markus Tangre, David Bjørnstad, Daniel Arntzen
Production designer: Mira LandaSet
designer/Carpenter: Ludvig Wiese
Puppets and props: David Bjørnstad, Markus Tangre
Costume: Hannah Berner
Production manager: Simone Storm
1st AC: Fredrik Hallerud
Gaffer: Hassaan Menk
2nd Unit Focus Puller: Cameron Daravi
BTS: Daniel Arntzen
Musikk og lyddesign: Benjamin Nerheim
Colourist: Didrik Braathen
Colour (post) producer: Eli Sandal
VFX: Ola Jacob NestandE
Conform: Emanuel Kambo
Comp: Christopher Ekdahl
Post producer: Herlaug Dahl Olsen
Poster: Jacky Su, Isabella Zibert, Polly Makarenkova, Anja Giele
Thanks to Magne Lygner, Jørn Broll, Stine Cecilie Staff, Henriette Desmoures, Charlotte Carr, Synne Mali Leirfall, Erik og Audun, Magnus Albertsen, Jakob Marky, Patrick Larsgård, Henrik Zwart, Eli Sandal, TMLS, FTE Locations
Production company: Bacon Pictures
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“The film sprung out from a beautiful monologue written by Signe Damman Anker. A small and intimate piece about a late-night confession.”
– Markus Tangre
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“We often associate puppets with something whimsical and silly. But I think it’s more fun to go in the complete opposite direction, where we actually tone down their performance and give them real, human emotions.”
“I’m not a woman in mid-life having an existential crisis, but I do think there is something universal about this film. I’m sure we all, at some point, go through moments where we start doubting or freaking out over life decisions we’ve made.”
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“We shoot using classical hand-and-rod style puppets, which means they are performed live-action in front of the lens, operated from below the sets. So we’re essentially working blind with our arms poking up through a hole in the floor, relying on monitors to see the frame.”
“What I love about this type of filmmaking is that the pre production period is so detailed and meticulous, with months of planning and building for each shot to work. We built absolutely everything from scratch, from the milk containers to the puppets, with a very small and dedicated team.”
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