Next Door

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User Ratings: 2,701
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Movie Info

After Ingrid (Anna Bache-Wiig) leaves John (Kristoffer Joner), he allows himself to be pulled into a mystical and scary world where it is impossible to separate truth from lies.

Cast & Crew

Øystein Martinsen
Peter
Odd Arno Midtsjø
gammel mann
Magne Kipperrud
kollega
Pål Sletaune
Director
Pål Sletaune
Writer
Anna Anthony
Co-Producer
Hans Bitsch
Co-Producer
Hugo Hagemann Føsker
Associate Producer
Marius Holst
Executive Producer
Peter Aalbæk Jensen
Executive Producer
Lars Jönsson
Executive Producer
Bent Rognlien
Line Producer
Aagot Skjeldal
Associate Producer
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Critic Reviews for Naboer (Next Door)

All Critics (2) | Fresh (2)

  • Sletaune succeeds in suggesting a correlation between the twisty corridors and creepy rooms and the characters' fragile psyche.

    November 3, 2006 | Full Review…
  • Direo de arte, fotografia e atuaes impecveis, associadas mo firme do diretor Sletaune, compensam a obviedade do roteiro, transformando este curioso estudo de personagens em uma experincia incmoda e angustiante.

    June 12, 2006 | Rating: 4/5

Audience Reviews for Naboer (Next Door)

  • Apr 09, 2012
    A decent psychological thriller that one can afford to miss. Watch it or miss it; won't make a world of difference.
    familiar s Super Reviewer
  • Aug 13, 2011
    A pretty effective psychological thriller, a film thats about the state of mind of a guy, the more the film goes along. whos real and whos not comes into play, and at a very short running time does not oiutstay its welcome either, its setting is quite unsettling at times and adds to the film,
    scott g Super Reviewer
  • Apr 16, 2011
    "Naboer" is a claustrophobic psychological Norwegian thriller that is dark, erotic, violent and disturbing which keeps the viewer guessing as to exactly where it is going. Technically speaking, when it comes to editing, acting, music and camera angles, so forth, it is quite a good movie.
    John M Super Reviewer
  • Jun 29, 2010
    .. <B><I>NABOER</I> AKA NEXT DOOR (2005) </B> NORWAY; English subtitles WRITTEN AND DIRECTED BY: Pål Sletaune FEATURING: Kristoffer Joner, Cecilie A. Mosli, Julia Schacht, Anna Bache-Wiig, Michael Nyqvist, Øystein Martinsen GENRE: <B>THRILLER, MYSTERY</B> TAGS: disturbing, twisted, horror, sexual violence, rape <b><a href="http://www.flixster.com/photos/naboer-14035365" target="_blank" > <font size="2" color="blue" face="courier"><CENTER><B>STILLS:<U><center>http://www.flixster.com/photos/naboer-14035365</U></B></font></a></b></CENTER> <center>(download and enlarge for full resolution)</center> <b><a href="http://www.flixster.com/videos?videoId=11151182" target="_blank" > <font size="2" color="blue" face="courier"><CENTER><B>TRAILER:<U><center>http://www.flixster.com/videos?videoId=11151182 </U></B></font></a></b></CENTER> <b><a href="http://www.flixster.com/videos?videoId=11151183" target="_blank" > <font size="2" color="blue" face="courier"><CENTER><B>CLIP:<center><U>http://www.flixster.com/videos?videoId=11151183 </U></B></font></a></b></CENTER> <b><a href="http://www.youtube.com/watch?v=jgCsaUw9Dgo&feature=related " target="_blank" > <font size="2" color="blue" face="courier"><CENTER><B>CLIP - 2 ASSORTED SCENES:<center> <Center><U>http://www.youtube.com/watch?v=jgCsaUw9Dgo&feature=related</U></B></font></a></b></CENTER> <B>PLOT: When a naively unassuming bachelor involves himself with a pair of sinister siren neighbors, they lead him down a twisted path of horror, perversion and madness.</B> COMMENTS: Wow! What a cherry bomb of a movie! <I>Naboer</I> is another slick, top notch Norwegian thriller in good company with chic efforts such as <I>Let The Right One In</I> and <I>Skjult</I> (Hidden). In <I>Naboer</I> (think "neighbor," i.e. <I>next door</I>), director Pål Sletaune keeps you guessing two thirds of the way into the story. Even after he lets you begin to piece together what's really happening, you'll continue to be captivated, squirming with tension right to the creepy, disturbing end. Lurid and salacious, <I>Naboer</I> cloisters the viewer in a velvet pall of apprehension and dread. It agitates him with provocative imagery and perplexing character motivations. The effect is disorienting and unsettling. A heavy, controversial sexual undercurrent sweeps along this troubling, unusual story from start to finish. At 75 minutes, <I>Naboer</I> is a sleek, fast excursion into horror and insanity. The plot is engrossing from the first frame, in which pretty Ingrid (Wiig) knocks at her ex-suitor's door to collect personal items she left behind while they were living together. John (Joner -who strikingly resembles a young Simon Ward (<I>I Start Counting</I>, 1969; <I>Zulu Dawn</I>, 1979; <I>Wuthering Heights</I>, 1992) is the likable guy Ingrid just unceremoniously dumped. Rattled from the breakup, unsure of himself, but excruciatingly polite and proper, he's at once charming and vulnerable. John has graciously packed Ingrid's things. Hoping for a reconciliation, he amiably admits Ingrid and tries to relate to her equitably and kindly. Out of the blue she drops the mean-spirited firecracker revelation that she's blabbed their intimate problems to all John's friends, and that her new boyfriend is just outside waiting to clobber John if she doesn't signal through the window that he's being a gentleman. What the f---? John's done nothing to provoke this kind of treatment. Are women nuts or what? Little does he know, John is about to discover that the rabbit hole of gender jousting plunges so much deeper. The units in John's building exude an eerie ambiance that sinks somewhere between the ether of repression which hangs over Trelkovsky's flat in Roman Polanski's <I>The Tenant</I>, and the dark, smothering, eremitic secrecy of Dorothy Vallens's curtained, tenebrous abode in David Lynch's <I>Blue Velvet</I>. A cavernous, masonry urban edifice, we get the impression that within John's thick-walled, ancient building anything could happen and no one in the outside world would ever be the wiser. Indeed, the old building holds secrets, it's un-numbered residents coming and going unseen though it's dimly lit passages. One evening when coming home to his apartment, an alluring new neighbor Anne (Mosli) begs John for some assistance. It turns out she just moved in next door, and needs John to help with a bit of lifting. Naively, John timidly agrees, but upon entering Anne's residence and meeting Anne's sister Kim (Schacht), he finds himself being gradually, insidiously separated from his sanity. Anne and Kim are more than a little weird, yet oddly sexy. They look and behave like seductive, sinister, degenerate Euro-trash. Both girls have a dark and threatening, Eastern European aura of danger, and well, downright <I>decadence</I> about them. Curvaceous and leggy, bra-less, sultry and coy, the demure duo exude an irresistible, if risky sensual vibrancy. They are at once, simultaneously provocative and disturbing. The couple's apartment is unconventional to say the least. Stocked with a surplus of domestic survival staples, it's labyrinthine corridors, multitude of rooms, incongruous variety of conventional, yet bizarre decor (which varies dramatically from room to room) makes the flat seem like something out of <I>Through The Looking Glass</I>. In fact, John is on the other side of the mirror; unable to leave, he becomes a player in the sisters' schizophrenic world of fancy, a tool in their scheme against a faceless intruder, a pawn in a cruel, sexually sadistic game, and finally a prisoner in the maze-like, narrow hallways of the hidden world next door. Anne and Kim's apartment takes on the guise of a variety or worlds, with some rooms reminiscent of dark, wood paneled Itailian villas, and others resembling mod decorated institutional lounges from a bygone decade. With its complexity, numerous doors, and counter-intuitive floor plan, the old flat itself becomes complicit in John's mounting dilemma. Like a co-conspirator, it lures John from one enclosure to another, disorienting him, then channeling him toward uncertain encounters with other, sometimes inexplicable occupants. It is, in essence, a giant mouse-trap and John is the hapless lab rat. John's Achilles heel is his genteel sense of character. He's a nice guy. Too kind for his own good. Unassuming, anxious to please, he fails to pick up suspicious warning signals that he shouldn't become too friendly with his enigmatic, maybe dangerous neighbors. The effect is maddening. We just know John is about to step into something awful. We want to alert him, to extradite him from the springing trap, but helplessly, we're compelled to condone his good intentions and applaud him for trying to help the girls next door. John gradually begins to perceive that his new neighbors are actually not so new. Oddly, it turns out they've been next door for some time and he just never noticed them. John also grows aware that the wall separating his home from Anne and Kim's is not so thick as he had once assumed. There are growing indications that Anne and Kim may have bugged his apartment. Have they drilled a peephole too? The precocious pair are taking an unhealthy interest in John. They know way too much about his personal life and movements for his comfort zone. Add to this that the fragile Kim nurses a charred soul as the former victim of some kind of assault. She may or may not be sane. John cannot ascertain from contradictory statements and cryptic utterances when or if Anne and Kim are being truthful or lying. Worse, Anne has a disconcerting propensity to lock John in the flat with an emotionally crippled, but erotically predatory Kim. As the sisters lure John deeper and deeper into a black ambrosia of dementia and sexual bedlam, the border between certainty and illusion shimmers, undulates, and then curls in upon itself. John, horrified yet strangely compelled, slips into the sordid sisters' misty moor of deceit and perversity. As John struggles to maintain his lucidity, will he solve the hyperbolic mystery of the unfolding, grim chimera <I>next door</I>?
    Pamela D Super Reviewer

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