Norway has the shortest history on this shelf and the most abrupt arrival: almost nothing here predates 2000, and then everything does. A national film fund created in 2001 started backing first features properly, and the directors who took the money split two ways — one half treating the landscape and the folklore as horror assets, the other making very exact films about Oslo. Joachim Trier's three of those, spread over fifteen years with the same actor, are about the same thing every time: a gifted person in his thirties who cannot begin.