Edvard Munch represents something different for different people: existentialist, art icon, tortured talented soul, trembling lover, or commentator on his era. In Christiania, he experiences a tingling love in anticipation of his autumn exhibition. Later, in Berlin, he launches what in art history will come to be known as the “Munch Affair”, himself incredulous that something as innocent as a painting could cause such a scandal. Making a life-changing decision, he soon enters a psychiatric clinic and during the years of the occupation, he protects his works while trying to save himself. Munch will not be on screen alone – he will be “reproduced”, just like his artworks.

Like Todd Haynes’ I’m Not There (2007), with its many versions of Bob Dylan played by some of the most prominent actors of the time, Dahlsbakken presents his Munch in four conceptual portraits. The Norwegian director (The Outlaws, 2022) is known to RIGA IFF audiences and is hailed in Europe as an alchemist of genre cinema. With Munch, he deconstructs the biographical film structure, boldly dressing up and transforming the artist Munch (1863–1944) into different ages, genders, periods, and aesthetics. The film, which opened the International Film Festival Rotterdam, intertwines biographical facts about Munch with the myths surrounding his famous paintings The Scream (1983), the Nazi occupation of Norway (1940–1945), and the contemporary face of Oslo with the newly built Munch Museum. Dahlsbakken dissects Munch’s personality into various fresco-like details and conjectures.