Rasmus Bergli

Rasmus Bergli, honestly, doesn’t get nearly enough credit for the wild ride his filmography takes you on. Start with "Askedager" (2020)—that one’s a moody slow-burn, the kind of film that creeps up under your skin. It’s the sort of story where you think you know what’s going on, but then it just flips the table. Bergli’s got this way of making everyday life look kind of haunting, almost like he’s daring you to see something off in the corners. Then there’s "There's Something in the Barn" (2023), which absolutely owns its weirdness. You’re watching it, thinking, “Okay, this is a cozy little rural flick,” and then—bam!—everything goes sideways. Dark comedy, a bit of horror, a dash of Norwegian folklore thrown in for flavor—it's like he raided a genre buffet and just stacked his plate. Some people might call it chaos, but, honestly, it’s the good kind. Keeps you guessing, keeps you laughing, kind of spooks you if you’re watching alone at night. And, come on, "Spermageddon" (2024)? The title alone makes you do a double-take. It’s out there, unapologetically. Bergli dives headfirst into adult comedy, throwing subtlety out the window and just leaning into the absurd. Sure, it’s crude, but it’s never mean-spirited—it’s self-aware, poking fun at itself while delivering some surprisingly sharp social commentary. If you want safe or predictable, look elsewhere. Bergli’s work is all about shaking things up and making sure you’re having a blast along the way.