“Captures reality in a hypnotic, challenging way that provokes and intrigues in equal measure.”

“Your world is on fire”  

Being young is never easy, regardless of the generation in which you grew up. It seems that everyone believes that their upbringing was the most challenging, and riddled with obstacles, when in reality the process of maturing has never been a particularly smooth journey. The transition between adolescence and adulthood is a notoriously difficult period, since we come to realize the truths of the surrounding world, but don’t tend to be equipped with the knowledge or resources to handle them. This leads to crises of identity that can become much more sinister if left dormant. This bit of philosophical pondering is the foundation for How to Be Normal and the Oddness of the Other World, the directorial debut of Florian Pochlatko. The film crafts a compelling story that centres around Pia, a young woman recently discharged from a stay in a psychiatric facility, who returns home to her family with whom she has a very contentious relationship not made any easier by her callous nature and frequent delusions.  Moment by moment, we follow Pia as she attempts to assimilate back into society, realizing that this is not as easy a task as she expected, especially with the constant tug of existential despair she feels deep within her soul. A psychological character study that touches on themes such as mental health, dysfunctional family dynamics and the experience of growing up, this film captures reality in a hypnotic, challenging way that provokes and intrigues in equal measure, leading to a unique piece of experimental storytelling.  

The thematic foundation on which Pochlatko constructs this film is fascinating right from the start. This begins with the provocative and somewhat tongue-in-cheek title that alludes to the possibility that we are about to encounter some field guide to navigating the modern world as a young adult. In reality, How to Be Normal positions itself as the opposite, functioning as a series of vignettes in the daily life of Pia as she attempts to make her way through each moment of existential despair (in her eyes, anyway). Mental health is a subject that is constantly evolving as far as artistic representation goes – the tendency to configure these stories as cautionary tales about the terror of madness and delusion has grown steadily more sensitive, a result of more open, frank discussions on these themes. This film dissects its complex main character – portrayed by Luisa-Céline Gaffron in one of the most spellbinding performances of the year – and follows her efforts to exist in a world that she no longer recognises. She comes to realize that society kept moving even when she was hidden from view, and now has to find a way to adjust to these changes, especially with a family that is supportive but unsympathetic after having endured her volatility for long enough. Pochlatko examines human connections and the misunderstandings that inevitably occur when two very abrasive souls stand in opposition, and the impact that this can have not only on these relationships but on the individual and their state of mind. Large portions of How to Be Normal find Pia in conversation with herself, engaging in an internal dialogue with the voices that initially led her astray, but are now the most trusted guides she has, which reflects her shifting state of mind and shows the challenges that come with being a young woman in a fast-paced, confusing world.  

Considering the sheer scope of the thematic content of this film, it’s hardly surprising that it would be equally compelling in terms of its visual and tonal approach. How to Be Normal is less about the plot and more about how these various narrative strands are realized through the use of various intriguing artistic cues, each one crafted to reflect something much more profound. The director sets the film in the present day, but tweaks its grasp on reality slightly, creating a vaguely dystopian version of our world; one in which everything is recognizable but where nothing works in quite the same way. This is done to represent the protagonist’s state of mind as she sets forward to navigate a discordant reality in which every day is spent trying to make sense of her surroundings and determining whether what she is experiencing is real or simply the result of her ongoing delusions. The very narrow boundary between determining if Pia has been set on the path towards recovery or is sinking deeper into her state of psychosis is reflected in the film’s perpetual tendency to blur the line between fantasy and reality, which makes for an unsettling image of her life and her efforts to unearth the mysteries that have bothered her all along. Pochlatko uses humour sparingly – How to Be Normal is not much of a comedy, but there are some moments of levity, which we may initially think are there to soften the emotional blow. In actuality, the humour is used as a tool for discomfort, as the increasingly surreal scenarios in which Pia finds herself create a disquieting, often uneasy tone that comes very close to recreating the experience of feeling adrift in a world that has grown unsympathetic to those who need the most guidance.  

How to Be Normal is a film most certainly driven more by its atmosphere than its plot, and it requires the viewer to be willing to leap onto a specific wavelength, as well as surrender to the oddities situated right at its core to fully immerse ourselves in its peculiar charms. However, there is certainly a method to the madness, as we find that Pochlatko is intent on crafting a meaningful, effective examination of mental health and the challenges that come with existing in a world that can sometimes be impossible to navigate when struggling with such issues. Rather than succumbing to the same hackneyed tropes we usually expect to find in these stories, the director chooses to go in his own direction, avoiding being heavy-handed or flippant in how he explores the protagonist’s journey and finding a unique approach that feels genuinely experimental. Sensitive but provocative, the film serves as an intimate portrait of a young woman teetering dangerously close to the edge of self-destruction, gleefully dancing as if it is all she knows how to do, from hearing those voices that push her closer to what seems to be an inevitable breakdown. These glimpses into her mind eventually coalesce into a work that not only makes some profound statements on the nature of the modern world and the role of the individual within it but also provides some stark, harrowing commentary on mental health and how it is impossible to define it in linear terms. An extraordinary debut from Pochlatko, whose vision is genuinely exciting in how it subverts all our expectations, How to Be Normal is an exceptional work that represents an entirely new movement in socially conscious but artistically daring cinema.  

Image copyright: Golden Girls Film