Brave New Love Review: Infidelity Isn’t the End in an Unusual, Open-Minded Marital Drama

The Scandinavian region has long been a hub for unconventional storytelling, and Maria Bäck’s “Brave New Love” is no exception. This film is not just a marital drama but an exploration of the unspoken rules governing modern relationships in Scandinavia.

At its core, “Brave New Love” centers on Kate, a complex and multi-faceted character who embodies the contradictions of contemporary Scandinavian womanhood. Her affair with Andreas is portrayed as a nuanced exploration of human emotions, rather than a simplistic “good vs. evil” scenario. Bäck’s refusal to judge her characters for their infidelity is a deliberate choice that adds depth to the narrative.

The film’s non-linear storytelling structure creates a sense of temporal dislocation that mirrors the characters’ emotional states. By jumping back and forth between past and present, Bäck underscores the idea that relationships are not fixed entities but rather fluid and constantly evolving. This narrative approach serves to create a sense of uncertainty and ambiguity that is more reflective of real-life relationships.

Bäck’s script is notable for its thoughtful exploration of middle-class millennial female unrest. Kate’s decision to opt for marriage and family earlier in life has led her to feel trapped by the conventions of suburban Scandinavian life. Her affair with Andreas becomes a way of rebelling against these expectations, but it also leaves her feeling lost and uncertain.

The film’s portrayal of relationships is marked by an emphasis on empathy and understanding. Bäck’s characters are multidimensional and relatable, even when they’re behaving in ways that are difficult to condone. The influence of script consultant Eskil Vogt, who has worked with director Joachim Trier on several projects, is evident in “Brave New Love“‘s nuanced portrayal of human emotions.

Bäck’s approach to sex and intimacy is also noteworthy. Rather than relying on explicit content or sensationalism, the film presents a subtle and understated exploration of physical relationships. The chemistry between Kate and Andreas is palpable, but it’s not the kind of sizzling passion that one might expect from a more conventional romantic drama.

In many ways, “Brave New Love” feels like a companion piece to Joachim Trier’s “The Worst Person in the World”. Both films explore the complexities of modern relationships and the ways in which they can be messy, complicated, and difficult to navigate. Bäck’s script is more introspective and less judgmental than Trier’s, but both films share a commitment to exploring the human condition with nuance and sensitivity.

The film’s portrayal of the church group as a safe space for women to discuss their relationships is particularly striking. This device allows Bäck to explore themes of female solidarity and community, and it serves as a powerful reminder that women’s experiences are often shaped by a complex web of social expectations and cultural norms.

Ultimately, “Brave New Love” is a film about the unspoken rules of modern marriage in Scandinavia. It challenges traditional notions of monogamy and commitment with a complex and nuanced exploration of relationships. Bäck’s thoughtful portrayal of human emotions serves as a powerful reminder that relationships are not fixed entities but rather fluid and constantly evolving.