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In Dreams, the latest entry in Dag Johan Haugerud’s trilogy of stand-alone films about love and desire, the acclaimed writer-director explores the emotional intensity of first love. The film follows Johanne, a 17-year-old who becomes infatuated with her French teacher, Johanna. Her written reflections on the relationship that she is being encouraged to turn into a book blur the lines between personal experience and fiction, forcing those around her and the audience to question what is real. Haugerud, known for his insight into human relationships, spoke to us about his creative process, the film’s visual language, and his broader approach to storytelling.
From the Personal to the Universal When asked about the Johanne’s experience between writing deeply personal narratives and considering commercial appeal and if he related as an artist, Haugerud is clear: personal connection comes first. “I didn't think so much about that,” he says. “You always have to begin with yourself. I always do that. I have to connect with the characters… I think I am a part of all of them. And I think that’s important to try to get it to play but it must be quite open to allow actors to put something in themselves as well. ” This deep personal engagement allows him to craft authentic and layered characters, but Haugerud also leaves space for his actors to bring their own experiences to the role. Capturing a Teenager’s Perspective Given the film’s focus on a young woman’s awakening, when asked how he approached writing a 17-year-old girl’s experience, he points out the universality of first love. “I haven’t been a 16-year-old girl. But I have been 16,” he says. “And I don’t think there’s that much difference, really. The experience of first love is universal—you recognise those feelings that are all-consuming.” For Haugerud, character differences are less about gender and more about individual personality. “Even if they share similarities, there are differences between them. But I don’t think that has so much to do with gender.” Dreams and Memory One of Dreams’ most striking qualities is its dreamlike cinematography, achieved through Haugerud’s collaboration with cinematographer Cecilie Semec. The warm, golden lighting in scenes between Johanne and Johanna evokes a sense of nostalgia and emotional intensity. “We discussed that a lot,” Haugerud says. “We had to find some kind of visual space for them—something that felt real but also reflected Johanne’s perspective.” To achieve this, they used Cooke lenses with a subtle yellow tint and soft filters. “To me, that can be a bit too cheesy, but it was important to create that dreamlike space, almost like a story unfolding in real life.” This perspective-driven approach also challenges the audience: are they watching what actually happened or Johanne’s idealised version of events? “It’s also about how we form images of love and sexuality,” Haugerud adds. “Romantic and even pornographic imagery often has that soft focus. At one point, she talks about bubblegum and boyband skin—these soft things she associates with love and sexuality.” A Muse With a story so deeply centered on a writers intense infatuation, one wonders if Haugerud himself had a similiar formative experience. However, he dismisses the idea of a singular muse "No, i wouldn't say that," he reflects. "I read a lot when i was child - children's books, but also more serious works. I've been always been inspired by what i read, and I still am. When I start writing a screenplay, it almost always begins with reading - reading a lot - and then finding thoughts that could translate into a script." Symbol of Desire One recurring motif in Dreams is the use of stunning Norwegian staircases—both indoors and outdoors. Haugerud reveals that this choice was both symbolic and practical. “In dream theory, stairs are often connected to sexual dreams and desires. That might be a bit obvious,” he admits. “But it started when I found the location— a long, winding stairway in Oslo. I’ve walked past it for years, thinking it should be used in a film. So I wrote scenes specifically for that space.” A Trilogy’s Evolution Dreams is part of a thematic trilogy exploring love and desire, alongside Sex and Love. Haugerud explains that the idea of exploring a subject from multiple angles was key to its conception. “I’ve always been a writer first. Making films was never my main goal,” he admits. “If I was going to do it, I wanted it to be something different— not just a conventional feature film. I liked the idea of exploring a theme across multiple films, seeing it from different perspectives, and working with different actors.” Norwegian Openness Haugerud’s trilogy is marked by frank discussions of intimacy, something that might seem culturally specific. When asked whether Norwegian audiences are more open to such conversations, he notes a contrast between different communities. “In Sweden, audiences didn’t react to the dialogue at all; they saw it as normal. But it differs across social environments. Oslo is more open-minded compared to smaller communities.” From Librarian to Filmmaker Unlike many novelists-turned-filmmakers, Haugerud didn’t initially set out to direct. His journey into filmmaking was, in some ways, accidental. “I studied film at university but never planned on making films myself,” he says. “It was my producer—an old friend—who pushed me into it. He saw my potential early on and encouraged me to pursue it.” His career as a writer was also slow to start. “I started writing short stories, and I couldn't get them published. I tried a lot of times. And then after a while, I thought, okay, maybe this isn't going anywhere. So I pursued another education.” That education was in library science, and Haugerud worked as a music librarian for many years. “While studying to become a librarian, I wrote my first novel. And that felt quite easy at the time because it wasn’t so important. That gave me a light touch, maybe—the feeling that it was possible for it to be published.” What’s Next? With Dreams completing his trilogy, the inevitable question remains: what’s next? Will he turn to a quadrilogy next, or shift gears entirely? “I don’t know yet,” he says. “I will try to come up with an idea that challenges me—something different. That’s my drive in different projects— to try to find a new idea. If it’s possible, I don’t know. But I am thinking about it.” Dreams will screen at the Glasgow Film Festival on Saturday March 8th at 8:40pm and Sunday March 9th at 12:45pm with Love screening on Friday March 7th at 5:45pm and Saturday March 8th at 6:15pm. www.glasgowfilm.org/movie/dreams & www.glasgowfilm.org/movie/love |
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