Do we want to know everything about the past to feel secure about the future? Edith has determined her life on her own. She doesn\u2019t call herself a single mother \u2013 the very idea makes her shudder. She selected a sperm donor from a bank, and now she is a forty-something raising a five-year-old son and working in journalism. But Edith\u2019s resolve to be the one in control is replaced by prickly curiosity when she learns the identity of her son\u2019s biological father. Is narcissism hereditary? Will dyslexia affect her child too? Or perhaps she should invite the donor for an interview \u2013 under the pretext of being herself, that is, a journalist?<\/p>\n
Not knowing makes us weak, but the will to know compels us to cross boundaries \u2013 says Norwegian director Askevold, deftly tying together threads of comedy and drama. What may seem to be a Nordic humour piece on the most current issues in developed societies in the hygge philosophy of cosiness, is far more nuanced than it initially appears. Echoing the ironic heights of \u00d6stlund and thrusting the camera into the actors\u2019 faces in exaggerated close-ups, it offers a subtle anatomy of motherhood and fatherhood for the 21st-century human. The film is co-produced by the Latvian studio Mistrus Media. 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