Despite plenty of animal costumes and divorce statistics, Diorama is a cursory critique of monogamy and a derivative relationship drama. JacobOller's review:
In many looks at modern love, monogamy plus time equals tragedy. Comedic escapades might follow, but the storytellers who’ve apparently cracked the code typically tell their tale—be it a farce or a tearjerker—from an enlightened remove. The trajectories are merely predictable; it’s the tone that makes you roll your eyes. Swedish writer/director Tuva Novotny barely deviates from this expectation in her third feature.
As we watch Frida and Björn go from newly cohabitating horndogs to the put-upon parents of three, there is never a doubt about what will happen to their relationship. Dencik and Tjelta’s worn faces go through the marital motions like anthropomorphized divorce statistics, until their union blows up like we know it must. The barely defined couple suffers lightly from wanderlust, overwork, bad communication and an inability to get it on.
Humanoid chickens, voles and other critters parade throughout the film, sapping Frida and Björn’s plot of any remaining drama and giving Novotny a platform to directly bullhorn her reading list at us. It’s both the most on-the-nose her messaging is and the most engaging the film ever looks—apologies to the mimes performing a synchronized “drowning rodent” routine, but even that blue streamer-laden fun sinks due to the self-serious weight of Novotny’s beloved factoids and statistics.
The scientific and historical debate is all too facile to excite, especially since the drama these interludes interrupt is so focused on the failures of one marriage rather than the success and struggle of something a bit less commonplace. For all Novotny’s interest in disrupting the relationship status quo, her nods towards non-monogamy as a relationship structure, reparative tool or titillating experiment all come on the fringes.
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