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The Norwegian poster.
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Thelma is a 2017 Norwegian film directed and co-written by Joachim Trier.

A shy, devout Christian, Thelma (Eili Harboe) struggles with a mutual attraction to her friend Anja (Kaya Wilkins). However, when a deep and disturbing power begins to stir in Thelma, she needs to choose between her burgeoning sexuality and her strict upbringing.

Tropes:

  • Adult Fear:
    • Seeing your child under a frozen lake and being helpless to save them will haunt a parent for life.
    • Also having a child with psychokinetic powers and realizing she’s able to move people through her thoughts and with minimal effort, and not knowing how the child can control their power while doing your best to keep her and your family safe will definitely leave no parent at peace.
  • Afraid of Their Own Strength: Justified and deconstructed in Thelma’s case since she doesn’t know how her power works and her parents’s influence over her caused her to repress it, especially when she was a child and it resulted to adverse effects such as making her little brother disappear and even causing his death. It’s deconstructed towards the end since this repression doesn’t allow her to realize her full potential and that her powers can actually be productive and allow her to live freely.
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  • Allegory: For self-acceptance and being true to one’s self.
  • Anti-Hero: While Thelma isn’t necessarily unethical; she’s not a hero, a monster, or a victim. She’s none of those and all of those at once.
  • Ambiguous Ending: The Bittersweet Ending and exactly how much bitter and how much sweet it is.
    • Is it a dream sequence?
    • It also plays very differently depending whether you think that Anja genuinely loved Thelma from the beginning or if Thelma actually compelled Anja to her.
    • In which case, does it show Thelma breaking free of her religious repression, realizing that she needs to be herself, and ending up happily, or does it show Thelma embracing the more monstrous side of her as she starts to exercise her power without fear, having either killed or silenced the only people who could stop her (her parents)?
  • Ambiguous Situation:
    • When Thelma literally pushes Anja away and causes her disappearance, where does she go? If so, what does she (or any of the others around her) know about where she's been?
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    • The largest one is definitely whether Anja loved Thelma from the beginning, or if Thelma compelled them together.
  • Be Careful What You Wish For: Thelma obsessively prayed to rid herself of her “impure” thoughts and for her desire to be gone. Since Anja is whom she desires, this caused her to disappear.
  • Beware the Nice Ones / Beware the Quiet Ones: Thelma is sweet, likeable, and an adorable young lady but she is capable of erasing someone from existence or to put them somewhere, rendering that person to exist and not exist at the same time, physically displace them to less hospitable places, or to have them killed regardless of their proximity and for them to die in any way she imagines possible.
  • Blessed with Suck: Thelma has nigh-boundless psychokinetic powers but has no idea on how to control them and is too afraid of knowing how they work that she restrains every thought and feeling that she has which she deems as destructive or impure. This is subverted in the end of the movie when she embraces it and which can possibly qualify her as the Ubermensch.
  • Book-Ends: The film begins with the screen zooming in on Thelma, and it ends with Thelma pulling the scene towards her demonstrating that she’s zeroing in on her environment and that she can control it.
  • Brown Note: One of the rare occasions where it wasn’t stated for plot reasons and dramatic effect. The movie has a warning at the prologue advising viewers with epilepsy that the flickering lights in the forthcoming scenes could induce seizures and might trigger their symptoms.
  • Bungled Suicide: Thelma’s mom survived her suicide attempt but is left paralysed. It’s indicated that she resents and blames Thelma for this.
  • Callback: Several recurring elements happen throughout the movie.
    • The crows and the ballet dancers dressed in black are reminiscent of them.
    • Trond laying Thelma’s hand over the candle flame and feeling the pain from it as he says that this is what hell feels like. Nearing the end of the film, Trond is killed by having his hands first set on fire then it spread all throughout his body.
    • The music in the morning after Anja stays in Thelma’s apartment was also playing in Anja’s room before she disappeared.
    • Oddly enough, the lake itself. All three generations of the males in their family have all died in the lake. Her grandfather was last seen there, her little brother was trapped in the frozen lake, and her own father drowned there. This was reversed in the climactic scene where she swims in the lake and was able to find Anja.
  • Call-Forward: Thelma’s little brother who was killed under a frozen lake will foreshadow Thelma’s repressed internalized guilt as she was trapped in the pool, mirroring how her little brother was trapped.
  • Calling the Old Man Out / Rage Against the Heavens: Thelma telling God she’s now angry with him and her father after being forced to suppress herself once more and it causes her much suffering. Since Thelma sees God as an authority figure, she sees her father as the nearest person whom she can talk to on what God could want from her because of their influence through religion.
    Thelma: I’m angry with you god. Why are you doing this to me? What do you want? And I feel angry with dad as well. I’m not worth it. He has to stop, I can’t take it anymore.
  • Cassandra Truth: Thelma’s grandma says that she made her husband disappear and was subsequently confined to a mental hospital. Thelma’s father withheld this information from her and instead told her that her grandmother is dead.
  • Chekhov's Skill: Subverted. Thelma's swimming appears to be this way when she realizes that her father is missing and jumps into the water to skim to him. As she's swimming, she appears to decide that Anja is more important to her, so she stops swimming and gets washed ashore.
  • Coming-of-Age Story: A horror-filled version.
  • Coming-Out Story: Alongside the Coming-of-Age Story, as Thelma has just left home for the first time and discovers her sexuality.
  • Daddy's Girl: Thelma tells Anja that she can talk about everything with her dad, which Anja is clearly a little disturbed by, but she also remembers him being abusive, so it is at least a dark version.
  • Day Light Horror: Much of the terrifying scenes involving the outdoors happen during the day and are not shrouded in darkness which is a possible contrast to Dark Is Not Evil.
    • Thelma’s brother was found dead under the frozen lake at sunrise. Her father was almost burning to death and died by drowning in broad daylight.
    • The opening scene of the film shows a child walking with her father in the snow that is reminiscent of bonding moments. Then he turns his rifle towards her head.
  • Earn Your Happy Ending: Suggested. Thelma and Anja end up together. She has gained full mastery of her abilities even as they’re growing in range and intensity, but the true nature of the two women’s attraction to each other and the full extent of Thelma’s abilities and what she might become for better or for worse are open to interpretation.
  • Eerie Pale-Skinned Brunette: Thelma is one.
  • Familiar: The crows could be this for Thelma. Interestingly, the song at the club where Thelma and Anja are dancing is named “Familiar” by Agnes Obel.
  • Foil: Played with, and with the two seemingly polar opposites having a confluence in the final act.
    • Fire and water
    • Anja wearing a black swimsuit and Thelma wearing a white nightdress and with the last swimming pool scene which reminiscent of the yin yang symbol.
    • Urban and rural
    • Natural bodies of water (Lake) and manmade (swimming pools)
    • Dark and light
    • Purity (milk) and blood
    • Faith and doubt
    • Traditional Male and traditional Female displays in society
  • Friends Are Chosen, Family Aren't: Played with throughout. Thelma's only friends are her parents until she goes to college and meets Anja. Anja herself has a very difficult relationship with her father, who abandoned her to live abroad.
  • Friendless Background: Thelma doesn’t have a lot of friends while growing up.
  • Gayngst: Thelma struggles very much with her feelings after she hooks up with Anja for the first time.
  • Girliness Upgrade: Thelma attempts this with her wardrobe and by going out with Kristoff. It doesn’t end well.
  • Gone Horribly Right: Poor Thelma. She has experienced this several times throughout her life when one occasion has been proven too much for one lifetime, especially with her little brother and Anja
  • Grey and Gray Morality: The film doesn’t make a clear dichotomy on who’s right and who’s wrong since the characters make choices on what they think is right or best. Thelma’s parents who are emotionally distant but still care for her are still dealing with unresolved issues and have no idea on how to raise a child who is beyond their range of comprehension, while Thelma’s constantly at a dilemma on whether her thoughts and yearnings could be destructive to others even if it could benefit herself. There are no clear antagonists since the characters have an internal logic to their actions and even Thelma’s abilities aren’t necessarily good or bad in itself. Her power is as benevolent or destructive depending on how or why she uses it, and it’s still never that simple.
  • I Just Want to Be Normal: Fervently prayed for by Thelma—but she will never be which is for the better or worse.
  • In the Blood / It Runs in the Family: Thelma’s grandmother has demonstrated that she has similar powers to her. Their abilities are also shown to be manifested in females only.
  • Insistent Terminology: A muted version. Trier demurs on calling Thelma’s powers as “powers”, he prefers to refer to them as abilities emphasizing that they’re just a part of who she is and are not to be assessed based on value judgements on whether they are a force for good or ill. The “abilities” are not good or bad in itself. It’s just a part of who Thelma is.
  • Irony
    • Having nigh-boundless psychic powers but studying the earthiest of the sciences: Biology.
    • Thelma in the lab was doing her best to suppress her desire for Anja but her deep and quick breaths needed for her laboratory procedure is reminiscent of orgasm especially when she metaphorically levitates as she experiences bliss and peace as though coming from an afterglow.
  • It Makes Sense in Context: Thelma’s powers are shown to be inconsistent on-screen since she doesn’t know her own power or how it works since she spent much of the film suppressing them, thinking it would be better for everyone, and for being afraid of it herself.
  • Magical Queer: Deconstructed. While Thelma is magical and she is queer, her powers come not in the power of special wisdom or kindness, but in a terrifying vision of both liberation and anarchy due to her religious repression.
  • Loners Are Freaks: Reconstructed in Thelma herself. While she is very lonely and isolated, the audience sees how her parents' repression and anxiety causes her to be that way, and Thelma herself is actually a very sweet person.
  • Lyrical Dissonance: Played with, Anja’s music at her apartment has themes of realizing one’s full potential but meanwhile Thelma is in the lab suppressing her power and her desire for Anja, but this only caused her to actually experience the range of her power for the first time by being solely focused on removing her desire, and once she experiences it, this gives her a moment of peace.
  • Meaningful Background Event: The ballet that Thelma went to along with Anja and her mom is about a child recognising their autonomy and living a life outside of their parents’s influence.
  • Meaningful Name: Thelma (will), Brenn (burn)
  • Morality Chain: Anja for Thelma, who is her anchor to the world and to her humanity. Thelma’s parents tried to be this for her and they had varying success with this initially but failed towards the end when their methods proved to be unhealthy for her.
  • My God, What Have I Done?: Thelma, several times.
    • Thelma realizing that her father is dead.
    • Thelma finding Anja outside her apartment realizing that her desire to have Anja near her actually made Anja walk to her apartment. Thelma was visibly distressed over this.
    • Thelma remembering her repressed memory that she made her brother disappear.
  • No Antagonist: The film is about Thelma’s journey along with resolving her internal conflict, even her parents whose methods for raising her turn out to be unhealthy in the end, aren’t necessarily evil people but are doing their best to raise her well and to deal with the horrible situations that they went through in the past. Depending on your interpretation, the film could be about the birth of the ultimate powerful woman with a darker side and is about to embrace it.
  • Offing the Offspring: Thelma’s dad and mom, especially her dad, are morose over making the difficult decision to euthanize their daughter.
  • Oh, Crap!: Thelma seeing Anja outside her apartment, much to her horror.
  • Our Witches Are Different: Inverted by Joachim Trier. He’s commemorating the original Norwegian portrayal of witches as positive magical creatures before the influence of Christianity. If Thelma was born in a different time, her powers would classify her as a witch and possibly why these powers are only manifested in females.
  • Overprotective Dad: Thelma’s dad and mom regularly looks over her schedule and calls her every night to make sure that she eats or doesn’t give in to hedonistic practices. They may be protective and watch carefully over their daughter but they are shown to be emotionally distant.
  • Parents as People: Thelma’s parents are shown to be overprotective and it’s justified in their case, but Thelma is shown to be emotionally neglected by them and her parents are emotionally distant.
  • Parricide: Thelma was asleep when her father was killed in the lake. During the burgeoning of powers but also because of repression, much of her psychokinesis happens when she’s dreaming. Her father was killed as his hands caught fire and it spread throughout his body. He would have burned to death but he resolved by drowning himself in the lake instead. Upon realizing this as she woke up, Thelma was completely horrified and remorseful over her father’s death.
  • Psycho Lesbian: Deconstructed all over the place.
    • Anja stalks Thelma and instantly drops most of her other friends and her boyfriend for Thelma. Which becomes much more meaningful when Tron suggests that Thelma unknowingly guided Anja towards that kind of obsessive attraction to her.
    • Thelma has some terrifying powers and the ending possibly shows her embracing their Control Freak potential. Except...Thelma genuinely only wants to have friends and romantic connections, it's impossible not to sympathize with how lonely she is, and even if she did pull Anja towards her, she didn't do it knowingly. In fact, it's heavily implied that this is because of Thelma's sexual awakening - her lesbianism is just who she is.
  • Psychological Horror: With its themes of repression, existential dread, and fulfilling her potential and being true to her destiny while being put through the wringer many times, Thelma’s journey can qualify as this.
  • The Reveal: Thelma unintentionally killed her brother.
  • Shout-Out:
    • Sleight of Hand, the ballet, is about parental issues.
    • Joachim Trier alluded to religious imagery in some of the scenes such as Thelma in a white nightdress going to the lake which is reminiscent of the baptism of Christ in the Bible. Also, Thelma lying on the ground and looking up at the sky as she has gained mastery of her powers for the first time references the ascension of Christ in religious paintings.
  • Significant Birth Date: Thelma’s birthday is February 29. It happens once in four years, doesn’t happen often and Thelma is unique. Every year, her birthday is/isn’t; and on a non-leap year, the day before or after her actual birth date can still qualify as her birthday and it’s up to her. Thelma can make it so. It’s also suggesting a confluence of light and dark, being and nothingness, and unity of opposing elements, and possibly making someone exist and not exist at the same time, especially with what happened to Anja.
  • Significant Wardrobe Shift: A subtle one in the end. When Thelma leaves her parents’s house for good, she discontinues wearing her cross necklace.
  • Speculative Fiction LGBT: A much more grounded example of this trope, Thelma's Coming-Out Story (as she discovers her attraction to Anja and lesbianism) is reflected in her discovery of her powers.
  • Suddenly Sexuality: Played with and Played for Drama in a surprising way. Anja has a boyfriend when she meets Thelma but, within days of meeting her, she's broken up with him and is walking to Thelma's apartment. Thelma's father tells her that he thinks Anja never loved her, she just wanted it so badly she "made it true". However, it is still possible that Anja had a sexuality epiphany or that she was always bisexual.
  • Survival Mantra: Thelma’s prayers are meant as a cure for obsessive thoughts and to suppress her desires.
  • Suspiciously Apropos Music: Happens a few times in the film.
    • The song “Familiar” at club where Thelma and Anja are dancing is appropriate for the nature of their relationship.
    • The song “Mountaineers” which is played in the morning at Thelma’s apartment after Anja slept over and when it plays again in Anja’s apartment is an ironic and apt song to describe Thelma’s journey in the film.
  • Tears of Remorse:
    • Thelma upon realizing that her father’s dead and that she has caused it.
    • Thelma was guilt-ridden upon realizing that she compelled Anja to walk to her apartment. Wanting to be with Anja is something that she may have wished for but it doesn’t necessarily mean that she wanted it to be realized especially if Anja didn’t do it of her own accord.
  • Thought-Controlled Power: To Thelma’s distress, but near the end of the film, to her empowerment. Thelma’s abilities require minimal effort since she can teleport people and objects, can alter her environment, among other things. As her power grows, she can teleport people or make others cease to exist without even looking at them or regardless of their proximity to her.
  • Tranquil Fury: Invoked with Thelma but possibly averted when she cures her mother’s paralysis.
  • Unflinching Walk: The film shows a triumphant example as Thelma leaves her parents’ house for good.
  • Wham Line: Thelma's dad to her when she tells him about Anja:
    Trond: Did she ever love you? Or did you just want her so badly that you made it true?
  • Wham Shot: The repeat of Thelma in the swimming pool when she meets Anja for the first time, confirming that Thelma saw Anja first, rather than vice versa, as the first play of the scene showed. However, it still remains ambiguous if Thelma actually drew Anja to her or if their relationship was always real.

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