Veronica and Cecilie meet each other online. They form a death pact and travel to Veronica’s family cabin by the mouth of a fjord with a video camera to document their final days. When a boy from the neighbouring cabin appears, it is disclosed that they have extremely different needs and goals. The film is the girls’ own footage.
The main characters are played by Viktoria Winge and Julia Schacht, supporting roles by Kim Falck-Jørgensen, Knut Joner, Kristoffer Joner and Ane Dahl Torp. The film premiered on 28 July 2011 in around 30 Norwegian cinemas, and was produced and distributed by Feil Film and Europafilm.
The film’s theme incited a debate before the premiere, but the debate was naturally concluded after the events of 22 July, just a few days before the premiere. See also feature articles, interviews and further references in Aftenposten and Psykologforeningens tidsskrift. The film’s international premiere was at Filmfest Hamburg in August 2012.
Jan Zahl in Stavanger Aftenblad 28.07.2011
“Stene has succeeded in creating a nuanced portrait of the two young people, performed well by Viktoria Winge and Julia Schacht, and their different motivations for wanting to take such a drastic step. Stene has also succeeded in creating a film that holds back, that opens up little by little and reveals new elements, and thereby works well as film, as storytelling. Rating: 5 stars.”
Eirik Frisvold Hanssen in Montages 05.08.2011
“Bambieffekten is something as rare, in a Norwegian context, as a genuinely character and actor-driven feature film. The camera is a central aspect of the plot, but it is first and foremost through Winge’s and Schacht’s precise and complex acting performances that the film succeeds in showing viewers the often impossible task that lies in both staging oneself and simultaneously relating to the world around us.”
Steffen Moestrup in Le Mond Diplomatique 06.2011
“Through an intelligent application of the found footage genre, Bambieffekten depicts in a convincing fashion two young women’s journey towards death. Death is always solitary. Suicide as well. One stands alone with the act, uncertainty and fear. One has said farewell to life and although death is viewed as a benevolent solution in a life which is no longer pleasurable, the paralyzing fear always arrives in the end. It is therefore meaningful that two young women chat over the Internet and decide that they are going to help each other through the suicide and film the path leading up to the final hour. A death pact formed online.”
Øyvor Dalan Vik in Dagens næringsliv 28.07.2011
“The ensemble work is for the most part very good, depicting the absurd situation of doing everyday things such as shopping, eating and sleeping while waiting for the agreed moment for the end. The dynamic between them and the entire death pact as such is also put to the test, when the three young men who know Veronica turn up at a neighbouring cabin and as custom dictates, invite them to a party.”
Mikael Godø in Dagbladet 28.07.2011
“It is demanding to preserve realism when the form is so clear. A large burden is placed on the actors’ shoulders, whose performance must be so good that we don’t think ‛rehearsal’. Winge and Schacht are up to the task; they lay themselves bare and the result is relatively convincing. It also helps that Stene and Linda Gabrielsen’s screenplay serves up several surprises both for us and for the girls when it comes to their respective motivations for forming a suicide pact.”
Einar Guldvog Staalesen in «Mørkets opplevelser» NRK P2 29.12.2012
“It has a youthful appeal, it is bold, it dares to entertain dangerous processes: it is a matter of a suicide pact. Only a few of the year’s filmmakers have created works because they have something essential to communicate.”