Directed by Rebecca King and written by Lizzie Nunnery, set in Oslo in 1945 during the Nazi occupation of Norway. A tense emotional triangle forms between a Norwegian civilian woman, her adoring neighbour, and a German soldier. Starring: Jonas Strand Gravli, Nina Yndis and Lars Berge.
As you enter the world of Elsa, you’re greeted by a very shadowy aesthetic which while it nicely reflects the time, is not an ideal first impression. It’s a little too dark to make out much detail, which for a film that’s almost entirely hinged upon emotion, doesn’t get the ball rolling very well. It’s something that the film struggles with throughout, there are some fantastic pieces of cinematography (by Adam Singodia) in its brief natural landscapes but when it’s contained within Elsa’s (Nina Yndis) apartment, it’s not as strong.
Part of the issue of not hitting a sharper note in its opening is that the pacing and progression of Elsa also struggle to build a natural flow. The atmosphere doesn’t quite build and intensify, it tends to remain on the same level throughout, at least until the very final moment. Part of that is the feelings and intense romance which this story calls out for, don’t feel present. The intentions are there but these characters aren’t connecting strongly enough.
The consequence of that is it feels like this story doesn’t make itself truly apparent until it’s approaching the credits. It doesn’t give the audience much of a triangle or take a firmer grasp upon the consequences and risks of Elsa’s actions earlier on. It’s an unusual topic to choose and there’s room to explore the nature of attraction and very human behaviour, versus how quick people are to blame and seek punishment without compassion. There simply isn’t the presence or weight to really bring that debate to the forefront.
A factor which you then instead seek in the performances from the core trio of Jonas Strand Gravli, Nina Yndis and Lars Berge. They do add in emotion and depth, particularly in the latter scenes, Yndis ultimately gives a great show of strength, and brings a lot of composure and assuredness to Elsa. Berge portrays a naivety and desperation, how Kristian is trapped and scrambling but also complicit. While Gravli’s Gunnar for the most part is understated and wholesome. It’s a solid trio of actors but it feels like they don’t get to use their full talents here.
Elsa attempts to open up an interesting conversation about a rarely spoken about aspect of World War II but can’t quite strike a strong or impactful enough note. There’s a quieted or restrained quality to its visual and atmosphere, holding it back from striking the impassioned nature it’s going for. The cast do their best to inject more energy but without an organically building progression and bigger presence to back them up, the film can only achieve so much.
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