Immerse yourself in the captivating universe crafted by Kristoffer Borgli, the creative directorial force behind the 2023 film sensation, Dream Scenario. Featuring the enigmatic Nicolas Cage, the movie takes viewers on an intriguing odyssey through a maze of dreams. In this tale, Cage plays a gentle professor who unexpectedly journeys through the dream worlds of various individuals, creating a narrative that’s both humorously dark and delightfully strange.

As a comprehensive review of Dream Scenario is being prepared, let’s take a step back and explore Borgli’s previous cinematic gem, Sick of Myself (2022).

A Prelude to Dream Scenario: Sick of Myself

Sick of Myself is a captivating exploration of digital culture’s intricate maze. It artfully dissects themes of visibility and the relentless pursuit of digital attention, holding a mirror to our online personas. Join me as we unravel the genius of Borgli, a filmmaker who deftly balances the surreal with the all-too-real.

Signe’s Journey in Sick of Myself

The film centres on Signe, portrayed by Kristine Kujath Thorp, whose relentless quest for acknowledgement mirrors a societal fixation on digital validation over genuine experiences. Alongside her ambitious artist boyfriend, Thomas (Eirik Saether), their daring endeavours satirically reflect the cultural obsession with victimisation. Signe’s delusional belief in her superiority, especially over Thomas, drives her to extreme actions. At the same time, her deep insecurities and fear of abandonment intensify her behaviour.

In a startling turn of events at her workplace, a dramatic incident unfolds that forever alters the trajectory of Signe’s life. A woman, savagely bitten by a dog, stumbles into her coffee shop. Covered in blood, the woman’s condition is dire. It’s Signe who steps forward to aid her, her own white shirt becoming a canvas for the vivid redness of the blood. This stark contrast not only marks her clothing but also marks a turning point in her life, guaranteeing that onlookers’ eyes follow her as she returns home.

The Pursuit of Notoriety

This unexpected brush with attention ignites something within Signe, setting her on a self-destructive spiral. She begins to grotesquely alter her appearance, resorting to the use of hazardous medications, a dangerous game that she plays with her health. Her obsession with the spotlight grows, leading her to reject medical advice and aid, further endangering her well-being.

But Signe’s quest for notoriety doesn’t stop at self-harm. She begins to manipulate those around her—friends, family, and even the media. Her actions are calculated, designed to craft an image that will captivate and shock, to keep her at the centre of attention. It’s a path fraught with peril, one that blurs the lines between reality and the persona she’s desperate to project, raising questions about the true cost of fame and the lengths one might go to achieve it.

Lacanian Gaze: Understanding Self and Other in Sick of Myself

The film delves into the complex dynamics of the gaze, particularly the Lacanian interpretation, where the ‘mirror stage’ signifies the emergence of the ‘ideal-I.’ (Lacan, 2006). This concept, juxtaposed with Signe and Thomas’s actions, reveals a profound exploration of identity, perception, and the desire to be acknowledged in the digital era. It raises the question: How does our digital obsession distort our perception of self and others?

In Lacanian psychoanalysis, the concept of the gaze is integral to understanding the dynamics of the self and the Other. Lacan posits that the gaze is a form of desire where the subject seeks recognition from an external viewpoint, often misrecognizing themselves in the process. This gaze is not just about being seen but involves a complex interplay of looking and being looked at, shaping our self-perception and identity. It emphasizes the idea that our perception of ourselves is influenced by how we imagine others see us, which can be a source of anxiety and misrecognition.

Signe’s ‘To-Be-Lookedness’ and Her Descent into Narcissism

In Sick of Myself, Signe’s character embodies Laura Mulvey’s concept of ‘to-be-lookedness’ from her seminal 1975 essay Visual Pleasure and Narrative Cinema. However, Signe’s narrative twists this concept; she is not merely an object of gaze but actively seeks it, manipulating her image to become the centre of attention. This behaviour parallels Mary Ann Doane’s (2010) notion of the female spectator’s conflicted gaze, where Signe becomes both the observer and the observed. Her dramatic acts, from faking allergies to embracing a drug-induced disfigurement, reflect a distorted pursuit of validation.

Signe’s transformation into a model for ‘inclusive’ brands, exploiting her condition, highlights the perverse intersection of victimhood and branding in our digital culture. But, what does this say about our societal values, where notoriety and sympathy can be so easily manipulated and commodified?

The Multifaceted Digital Gaze: Identity and Perception in a Digital World

In Sick of Myself, the exploration of the digital gaze is deeply enriched by incorporating perspectives like the queer gaze and the oppositional gaze. These concepts offer a nuanced lens through which the film’s narrative and its characters can be understood.

Queer Gaze

The concept of the queer gaze, as defined by Molly Moss (2019), moves away from traditional cinematic norms that often cater to heterosexual and cisgender viewpoints. Instead, it offers a perspective that celebrates and normalizes diversity in sexual orientation and gender identity. The queer gaze in cinema and media allows for a more inclusive representation, where characters and narratives that deviate from the heteronormative standards are not just visible but are central and treated with complexity and respect.

In Sick of Myself, the queer gaze can be approached through the way the film handles its characters and their actions. Signe’s journey, her obsession with digital attention, and her extreme actions can be seen through a queer gaze as it challenges traditional narratives of femininity and societal roles. Her actions defy conventional expectations and stereotypes, providing a different perspective on how individuals interact with and are influenced by digital culture.

Oppositional Gaze

The oppositional gaze, a concept conceptualised by bell hooks (1992), is a form of looking that challenges and resists the dominant power structures often seen in media representations. It is a critical way of viewing that opposes the status quo and offers a counter-narrative to the prevailing cultural and societal norms. The oppositional gaze empowers marginalized groups by enabling them to critique the media they consume, which often does not represent them or does so in a stereotypical or negative light.

In the context of Sick of Myself, the oppositional gaze could be applied to how viewers (ourselves) perceive and critique the film’s portrayal of Signe and her digital world. The film encourages us to question and analyse the societal obsession with digital validation and victimisation. Signe’s character, and the lengths she goes to for acknowledgement, can be seen as a critique of how society often overlooks genuine experiences in favour of digital personas and recognition.

Importantly, both the queer gaze and the oppositional gaze are relevant to Sick of Myself as they provide frameworks to analyse and understand the film’s critique of digital culture. These perspectives allow viewers to dissect the complexities of Signe’s character and her actions, offering a deeper understanding of the film’s commentary on identity, perception, and societal values in the digital age. By applying the concept of these gazes, the film becomes more than just a story about a woman’s quest for attention; it transforms into a multifaceted examination of how digital platforms can distort self-perception and societal norms.

Voyeuristic Engagement

Moreover, Signe’s journey through this digital landscape, punctuated by her obsession with a newsworthy skin condition, satirises the often synthetic nature of online representation. This gaze fosters a voyeuristic engagement, as theorised by Veblen (1899), where social status and value become intertwined with visible consumption and self-presentation. However, Adorno’s (1947) critique of the culture industry suggests a dissonance between the portrayed and perceived realities. In the digital realm, what are the consequences of this constant oscillation between reality and representation, and how does it impact our sense of self and understanding of others?

Societal Reflections: Beyond the Screen

Sick of Myself transcends its storyline to offer a critique of broader societal issues, from the distortion of reality in social media to the internalisation of the digital gaze. Thus, it raises questions about the influence of media on our identity construction, especially in the age of social media, where the lines between physical and virtual spaces blur. Adorno’s (1947) insights on consumerism and Bourdieu’s (1984) discussion of aesthetic choices in social spaces resonate within the film’s portrayal of a hyperactive digital consumer culture. However, Hall’s (1998) notion of ‘cultural dopes’ serves as a cautionary perspective, urging us to question our complicity in these digital narratives. What does this say about our society, where trends, consumption, and the thirst for authenticity in a digital world drive our actions and perceptions?

Critique and Conclusion: The Mirror of Our Digital Selves

Sick of Myself, while deftly navigating these themes, occasionally risks losing its focus amidst its satirical elements. Nonetheless, it offers a reflective critique of our engagement with digital media, the allure of digital narcissism, and the complex web of realities we navigate. It prompts us to introspect on the digital culture’s pervasive influence on our identities and societal interactions. As viewers, we are left to ponder: In a world where the digital gaze shapes our perceptions, are we merely actors on a digital stage, or do we still hold the power to define our realities beyond the screen?

Critique and Conclusion

Although Sick of Myself adeptly tackles complex themes, its execution invites critical scrutiny. The film balances between effectively conveying its message and potentially losing its essence in satirical elements. Nevertheless, it acts as a mirror to our society’s complex relationship with digital media, highlighting the profound impact of living under the constant digital gaze. The film encourages viewers to reflect on the pervasive influence of digital culture on our identities and societal dynamics, securing its place as a noteworthy contemporary cinematic work.

Share Your Thoughts!

I’m eager to hear your thoughts and perspectives on these thought-provoking questions. Your insights are invaluable, enriching our discussion with diverse viewpoints on this compelling cinematic piece. Please feel free to share your reflections and analyses below! Consider the following questions:

1. Reflecting on Society’s Digital Obsession: Sick of Myself delves deep into our society’s relationship with digital media. In what ways do you think the film accurately reflects the impact of digital culture on our everyday lives? Are there particular scenes or aspects of the movie that resonated with you personally?
2. Balancing Act of Satire and Message: The film treads a fine line between satire and serious commentary. Do you feel that this balance was effectively maintained, or did the satirical elements overshadow the deeper message? How does this approach influence your interpretation of the film?
3. Character Development and Identity: Considering the characters in Sick of Myself, especially the protagonist Signe, how do you think their actions and transformations speak to the broader themes of identity and self-worth in the age of digital media? Are there any moments in the film where you felt particularly connected to or repelled by the characters’ choices?
4. Contemporary Cinema’s Role: As a contemporary cinematic work, Sick of Myself presents a unique perspective on current societal issues. How do you think this film compares to other movies that tackle similar themes? Does it stand out in its approach, and if so, how?
5. Personal Reflections and Takeaways: After watching Sick of Myself, what were your key takeaways about our society’s fixation on digital validation and visibility? Has the film influenced your perspective on how digital culture affects personal and societal dynamics?

Bibliography:

Adorno, W. T., & Horkheimer, M. (1947). The culture industry: Enlightenment as mass deception. In J. Schor & D. B. Holt (Eds.), The consumer society reader. The New Press.

Bourdieu, P. (1984). The aesthetic sense as the sense of distinction. In J. Schor & D. B. Holt (Eds.), The consumer society reader. The New Press.

Hall, S. (1998). Notes on deconstructing ‘the popular.’ In R. Samuel (Ed.), People’s history and socialist theory. Routledge.

Doane, M A. “Film and the Masquerade: Theorizing the Female Spectator.” In Jones, A: Feminism and Visual Culture Reader. Routledge, 2010, 73-85.

hooks, b. (1992). Eating the other: Desire and resistance. In J. Schor & D. B. Holt (Eds.), The consumer society reader. The New Press.

Lacan, J. (2006). “The Mirror Stage as Formative of the Function of the I as Revealed at Psychoanalytic Experience” (1949). In B. Fink (Trans.), écrits: The First Complete Edition in English. New York/London: W.W. Norton and Company.

Moss, M. “Thoughts on a Queer Gaze.” 3:AM Magazine, 3 Apr. 2019, https://www.3ammagazine.com/3am/thoughts-on-a-queer-gaze/.

Mulvey, L. “Visual Pleasure and Narrative Cinema.” In Jones, A: Feminism and Visual Culture. Routledge, 2010, 57-66.

Veblen, T. (1899). Conspicuous consumption. In J. Schor & D. B. Holt (Eds.), The consumer society reader. The New Press.