Sick of Myself (2022)

September 9, 2022 (NO) • Comedy, Horror • 97m

Overview

Increasingly overshadowed by her boyfriend's recent rise to fame as a contemporary artist creating sculptures from stolen furniture, Signe hatches a vicious plan to reclaim her rightfully deserved attention within the milieu of Oslo's cultural elite.

Director

Kristoffer Borgli

Writer

Kristoffer Borgli

Top Billed

Kristine Kujath Thorp

Keywords

drug abuse narcissism dark comedy social satire female protagonist disease social media oslo, norway toxic relationship body horror new persona unlikeable protagonist

Where to watch

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Top Billed Cast

Kristine Kujath Thorp

Signe

Eirik Sæther

Thomas

Fanny Vaager

Marte

Fredrik Stenberg Ditlev-Simonsen

Yngve

Sarah Francesca Brænne

Emma

Steinar Klouman Hallert

Stian

Ingrid Vollan

Beate

Andrea Bræin Hovig

Lisa

Henrik Mestad

Espen

Anders Danielsen Lie

Doctor

Frida Natland

Nora

Guri Hagen Glans

Kristina

Matilda Höög

Anja

Seda Witt

Stine

Elisabeth Bech Aschehoug

Anine

Terje Strømdahl

Olav

Anne Kokkinn

Torill

Christian Torp

Eivind

Erlend Mørch

Erik

Kristoffer Borgli

Director

Babatunde Adam Oluwalana

Marius

Knut Fougner

Signe's Father

Afzal Mohammad

Signe's Doctor

Jonas Bakke

Make-up Artist

Magnus Aasheim

Photographer

Bengt-Åke Gustafsson

Holistic Center Group Participant

Alexander Berg

Holistic Center Group Participant

Bente Vikman

Holistic Center Group Participant

Marit Heger

Mona

Sophia Leeber

Frida

Håkon Ramstad

Dog Owner

Robert Skjærstad

Waiter at Restaurant

Birgit Nordby

Woman Bitten by Dog

Bjørnar Bruun

Photographer (uncredited)

Lene Finnestad

Doctor (uncredited)

Amir Asgharnejad

Dinner guest (uncredited)

Crew

Mette Haukeland

Set Decoration

Jostein Wålengen

Costume Designer

Dimitra Drakopoulou

Makeup Artist

Gustaf Berger

Sound Designer

Katinka Lotherington

First Assistant Director

Jannicke Stendal Hansen

Casting

Hannah Chocron Foldøy

Casting

Mimmi Spång

Co-Producer

Tom Kjeseth

Executive Producer

Kristoffer Borgli

Editor

Benjamin Loeb

Director of Photography

Mette Haukeland

Art Direction

Henrik Svensson

Production Design

Jesper Miller

Sound Designer

David Kuuse

Sound Mixer

Torgeir Busch

VFX Supervisor

Gustaf Berger

Sound Mixer

Peter Possne

Co-Producer

Kristina Börjeson

Co-Producer

TURNS

Original Music Composer

Julien Alary

Colorist

Jens Mathias Falkenberg

Boom Operator

David Kuuse

Sound Recordist

Gustaf Berger

Supervising Sound Editor

Jesper Miller

Supervising Sound Editor

Vegard Ronæss Soldal

Sound Mixer

Lars Wignell

Dialogue Editor

Jesper Miller

Sound Editor

Gustaf Berger

Sound Editor

Lars Thomas Skare

Production Manager

Grunde Tveiten

Production Manager

Izzi Galindo

Prosthetic Makeup Artist

Jesper Miller

Sound Recordist

Simon Nordberg

Boom Operator

Elise Olavsen

Assistant Editor

Roy Fenstad

ADR Recordist

David Silverin

Foley Artist

Elin Kristoffersen

Foley Artist

Henrik Sunnåker

Foley Artist

Eskil Vogt

Script Consultant

Per Larsson

Still Photographer

Michael Fleischer

Executive Producer

Kai Kolstad Rødseth

Stunt Coordinator

Olav Haddeland

Gaffer

Atle Holtan

Steadicam Operator

Simen Mæhlum

Grip

Robin Opgård

Grip

Tina Solberg

Costume Supervisor

Kristoffer Borgli

Director

Kristoffer Borgli

Writer

Dyveke Bjørkly Graver

Producer

Andrea Berentsen Ottmar

Producer

Andrew Ruse

Script Consultant

Reviews

badelf

September 15, 2026

**Summary: 8/10: a hilarious, unnervingly well-constructed portrait of a serious disorder, carried by a fearless performance from Kristine Kujath Thorp, that fools its characters and its audience by the same method.**

The direction is the film's real feat, considering the material. Kristoffer Borgli's black comedy starts its two leads close to caricature, a narcissist and a bigger narcissist, locked in a competition neither will admit they're having. Signe (Kristine Kujath Thorp) is losing her boyfriend Thomas (Eirik Sæther) to his sudden fame as a sculptor who builds his pieces from furniture he's stolen. Rather than compete on any axis where she might actually win, she chooses illness, poisoning herself with a black-market drug to trigger a disfiguring skin reaction, then riding the sympathy it generates like a woman who has finally found her calling.

But director Kristoffer Borgli and Thorp keep pulling you back from the cartoon; every so often the film lets you see the panic underneath Signe's performance, the real emotional hunger driving the con, and suddenly she stops being a type and becomes a person you recognize, possibly from your own worst behavior at a dinner party. That's a difficult juggling act to hold for ninety minutes, but this film holds it, in spite of some slowness toward the end of act two.

Thorp's performance is the engine, and it's a genuinely brilliant one. She has to play a woman lying to everyone around her while also, in a sense, lying to the audience, and she does it by never breaking the fiction from the inside; Signe believes her own performance so completely that we start to as well.

The film's cleverest trick is structural. Signe's elaborate fantasies, the magazine profiles, the modeling contracts, the tearful public vindications she imagines for herself, are staged with the same visual conviction as the film's reality, so that you, like Signe's friends, absorb them as plausible before you catch yourself and realize you've been had. That's not a cheap gag; it's the whole thesis rendered as form. The friends who enable her aren't stupid, and neither is the audience. We all wanted to believe the more interesting version of the story.

Which makes the support-group scene the moral hinge of the film. It's the one room where Signe's routine doesn't work, where people who have genuinely suffered simply have no patience for her performance of suffering, and the flatness of their response lands harder than any confrontation could. It's the film's version of a truth I keep coming back to: people tell you exactly who they are right up front, we just aren't listening, except here, the group listens perfectly and simply refuses to be fooled. Signe's friends fail that test. We, briefly, fail it too.

The satire around the edges, the contemporary art world's appetite for a good backstory, the way social media and NGO-adjacent sympathy culture reward victimhood as a kind of currency, gives the film its bite without ever letting the comedy overwhelm the character study at its center.

It's very funny, and it's also genuinely upsetting once you sit with what you've watched, which is a person destroying her own body because she has no other language left for asking to be loved. That destruction has a clinical name. What the DSM-5 calls Factitious Disorder Imposed on Self, most people still know by its older name, Munchausen syndrome, named after a Baron famous for his tall tales. The clinical picture is grim: patients deliberately falsify or induce symptoms in themselves with no external incentive beyond the attention, care, and sympathy the sick role provides, and the prognosis, once the behavior is chronic, is poor. This is a movie about a real and serious disorder that never mocks the disorder itself; it mocks the culture that makes faking it look like a rational career move.

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Status

Released

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Budget

—

Revenue

$1,051,375

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Sick of Myself (2022)

Where to watch

Top Billed Cast

Crew

Reviews

badelf

Recommended Movies

Meat Market 2

The Moment

November

Apocalypse Now

Status

Original Language

Budget

Revenue

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