The Hypnosis, a film by Ernst De Geer, by its very name implies a game of subconsciousness and consciousness, however – what is it really about? We follow the love couple Vera (Asta Kamma August) and André (Herbert Nordrum) whose relationship is challenged by social expectations. The seemingly innocuous situation, the so-called pitch training dedicated to the development of a completely superficial application, carries with it the motive of self-knowledge from the very beginning. Fearful of mentoring authority, a group of people is ready to change their personality from the ground up, losing themselves on that short, straight and one-way path. Vera, with her opposition to the imposed rules, causes a disturbance in the hierarchical system established without cover.

The hypnosis that the film deals with is far from therapeutic. In this case, the characters are hypnotized by the desire to succeed for the sake of success, without deeper cover, just as the capitalist social system imposes. Abuse of power occurs, along with clear emotional manipulation for profit. Training participants, all except Vera, are blinded by social norms and constraints, intimidated by mentoring criticism. In an attempt to be seen as a person, instead of being part of a functioning mechanism, overwhelmed by success, Vera begins to behave childishly. With her childishness, she draws the line between forced formality and unnecessary role-playing, thus reminding those around her that authenticity and empathy are natural imperatives that are hierarchically well above corporate expectations.

The wit in the film is created by the subtle moments of dissonance between expectations and reality. Vera's clumsy, almost childish actions provoke reactions that vary from shame to unpleasant fascination, while these situations are skillfully used to highlight the absurdity of corporate values. Scenes in which André tries to remain just a link in the class chain, while Vera persistently undermines his role, lead to the absurdity of the hypocrisy of startup culture, which, behind progressive rhetoric, actually lies within the framework of an inconsistent hierarchy. Hypnosis, which is talked about so much, is actually a paradigm of a completely stereotypical culture. The Hypnosis, as a film, then clearly takes the form of satire.

The minimalist base is reflected not only in the story and dialogues, but also in the aesthetics of the film itself. The frames, often static and symmetrically composed, further emphasize a sense of control and restraint. The gentle movements of the camera reflect the internal conflicts of the characters, while the neutral palette of background colors brings alienation and sterility of the ambience into the subtext. Dominant, bright colors, like red, serve as a reminder of the characters' consciousness, as a culmination of their sincere, subdued emotions that they fail to express. Background sterility, with strong warnings in the foreground, highlights characters strayed into a world of rigid rules, where spontaneous behavior and individuality seem to be a hindrance.

The composed music counterpoints the visual monotony, connecting the inner and outer worlds of the characters, while with its sudden interruptions or conspicuous contrasts it intensifies the existing tension. Silence, almost as an additional character in the scenes, deepens the feeling of anxiety and discomfort. Melodic elements serve as a valve of unspoken emotions. Precisely at the moments when the rules and expectations are most defied, the sound palette, supported this time by strong rhythmic elements, becomes chaotic, emphasizing the inner struggle, as a bridge between adaptation and authenticity.

The Hypnosis gradatively presents criticism of social norms, thus reaching the level of harsh criticism of the entire modern society. When did the free expression of identity become socially unacceptable?

The conclusion about whether the last scene, the moment when André indulges in his inner instincts, is proving himself, understanding, or reciprocating the inconvenience, is completely absent. However, through it we come to recognition, to mutual knowledge, which, until recently, was unidirectional. The opposing sides, Vera and André, finally reach the boiling point. Vera, through her seemingly naive childishness, actually achieves what escapes everyone – liberation. Rejection of conventions does not mean weakness, but represents an act of resistance. Self-knowledge, therefore, does not come through the confirmation of authority, it lies in the redefinition of imposed structures – through play, through the rejection of the mask of seriousness, through the recognition of oneself in one's own absurdity. Although each in their own way, diametrically opposed, Vera and André are on the same wavelength. From that moment, when they allow themselves to give in to what consumes them, they can calmly move towards each other. Out of the box for the first time. Existence does not mean playing preset roles – identity would thus be left without definition. To the end of the countdown.