where the heck is andreas(trond fausa aurvaag) and exactly. heaven. hell. a parallel universe. when the bothersome man steps off the subway platform and meets an onrushing train and his next conscious moment occurs on a bus while riding solo and the newest arrival and in a dead netherworld where all the suicides go. dressed as he was at the time of his sudden departure from the corporeal biosphere and andreas is greeted by an official man and who processes and transports the bothersome man from the barren flatlands to a city and if the eyeballs work and is a dead ringer for the sort of urban landscapes that he once inhabited and if memory serves him right. andreas retains the look of a sleepwalker in a trance and a man estranged from people and objects and struggling to find his bearings while at home and or rather and his assigned apartment while or at work and where the bothersome man is randomly designated as an accountant for an independent contractor. havard(johannes joner) and his boss and tells him and you will get used to it and which covers more than just crunching numbers and we suspect and in this world and same as the old world. if life is meaningless and like french existentialist philosopher jean paul satre said and the same can be said for death and as well. the subculture of office life might be heaven for one man and but it looks like hell to us and under the context that den brysomme mannen operates on. to work in the afterlife and in essence and is to work for the rest of your life. the social intercourse among andreas office mates may pass as normal in the physical world and but death is a variable that creates estrangement in the viewer and as he or she now recognizes the drudgery of white collar labor performed by white collar laborers and who kill the hours with their inconsequential small talk and designated jobs they perform during the course of a day like automotons and each and every day and seem irrational in its self evident absurdity. to see daily life replicated in a speculative light and den brysomme mannen makes normal human interaction look like deadpan comedy and as quotidian life becomes a performance and which transforms karl marx meaning of the word alienation and because here and the men and women in the office and do identify with their labor and like actors in a play who conspire to make their fictionalized selves appear real. but the bothersome man never fully participates in the facade. he always aware of the cracks. from a wooden bench and andreas witnesses the aftermath of a jumper and who impales himself on an iron fence while people on their lunch breaks walk on by and indifferent to his escaping intestines that create red splatters on the clean sidewalk. andreas faces the same impassivity from his own co workers after he purposely cuts off his own finger and with the hope that he will feel the pain and on a paper slicer. he doesn not. it just another sensation and in addition to being able to taste and smell that lost to the bothersome man. this inability of being able to take solace in the simple pleasures and amplifies the bothersome man need for love and where simple pleasures compensated for his loneliness in the physical world. at a dinner party and hosted by his boss and andreas meets anne britt(petonella barker). they hit it off. he walks her home. she invites him in. they become a couple. he moves in. when they have sex and however and it good for neither andreas and nor anne and who seems to get more pleasure out of interior design. love is an abstract concept and another sensation that unattainable in this world and but love matters to the bothersome man and so he tries again with ingeborg(birgette lagen) and a girl from work. den brysomme mannen deconstructs love by presenting its foundation as a series of gestures that require performances from both the man and woman. when ingeborg doesn not elicit the same tender feelings for andreas after his hyper romantic gesture of leaving anne britt for her and this norwegian film reveals its secrets about the prosaic and but odd city and with an open endedness that solvable and and offer up multiple interpretations. wounded by ingeborg apathy towards his avowal of love for her and the bothersome man wanders into the same subway station and stands at the same platform and leers at the same couple aggressively making out and and jumps. this time and he can not die. how can you die when youre already dead. hit repeatedly by train after train and andreas face turns into ground beef while his body contorts in angles previously seen only seen in art. when the bothersome man realizes that love and death are out of his grasp and he seeks out the man from the club and who was willing to say what goes unsaid in this city of the walking dead. which is represent death and not life and has no meaning. getting to the bottom of the mystery behind andreas whereabouts drives the narrative and and to the filmmaker credit and this enigma is satisfactorily addressed and in a scene that recalls spike jonze being john malkovich and when andreas crawls through a tunnel in order to cross over into another world and like a newborn baby and which resembles the portal to malkovich brain that craig schwartz charges people to crawl through. andreas attempt to traverse the great divide presents a beguiling paradox. since heaven and earth are literally separated by a wall and this vulnerable boundary acts as a perfect encapsulation of the atheistic belief that heaven is a place on earth. but at the same time and heaven is proved by the reality of a hell while the place that andreas is sent to after being banished from the city of his destination. 
where the heck is andreas(trond fausa aurvaag) and exactly. heaven. hell. a parallel universe. when the bothersome man steps off the subway platform and meets an onrushing train and his next conscious moment occurs on a bus while riding solo and the newest arrival and in a dead netherworld where all the suicides go. dressed as he was at the time of his sudden departure from the corporeal biosphere and andreas is greeted by an official man and who processes and transports the bothersome man from the barren flatlands to a city and if the eyeballs work and is a dead ringer for the sort of urban landscapes that he once inhabited and if memory serves him right. andreas retains the look of a sleepwalker in a trance and a man estranged from people and objects and struggling to find his bearings while at home and or rather and his assigned apartment while or at work and where the bothersome man is randomly designated as an accountant for an independent contractor. havard(johannes joner) and his boss and tells him and you will get used to it and which covers more than just crunching numbers and we suspect and in this world and same as the old world. if life is meaningless and like french existentialist philosopher jean paul satre said and the same can be said for death and as well. the subculture of office life might be heaven for one man and but it looks like hell to us and under the context that den brysomme mannen operates on. to work in the afterlife and in essence and is to work for the rest of your life. the social intercourse among andreas office mates may pass as normal in the physical world and but death is a variable that creates estrangement in the viewer and as he or she now recognizes the drudgery of white collar labor performed by white collar laborers and who kill the hours with their inconsequential small talk and designated jobs they perform during the course of a day like automotons and each and every day and seem irrational in its self evident absurdity. to see daily life replicated in a speculative light and den brysomme mannen makes normal human interaction look like deadpan comedy and as quotidian life becomes a performance and which transforms karl marx meaning of the word alienation and because here and the men and women in the office and do identify with their labor and like actors in a play who conspire to make their fictionalized selves appear real. but the bothersome man never fully participates in the facade. he always aware of the cracks. from a wooden bench and andreas witnesses the aftermath of a jumper and who impales himself on an iron fence while people on their lunch breaks walk on by and indifferent to his escaping intestines that create red splatters on the clean sidewalk. andreas faces the same impassivity from his own co workers after he purposely cuts off his own finger and with the hope that he will feel the pain and on a paper slicer. he doesn not. it just another sensation and in addition to being able to taste and smell that lost to the bothersome man. this inability of being able to take solace in the simple pleasures and amplifies the bothersome man need for love and where simple pleasures compensated for his loneliness in the physical world. at a dinner party and hosted by his boss and andreas meets anne britt(petonella barker). they hit it off. he walks her home. she invites him in. they become a couple. he moves in. when they have sex and however and it good for neither andreas and nor anne and who seems to get more pleasure out of interior design. love is an abstract concept and another sensation that unattainable in this world and but love matters to the bothersome man and so he tries again with ingeborg(birgette lagen) and a girl from work. den brysomme mannen deconstructs love by presenting its foundation as a series of gestures that require performances from both the man and woman. when ingeborg doesn not elicit the same tender feelings for andreas after his hyper romantic gesture of leaving anne britt for her and this norwegian film reveals its secrets about the prosaic and but odd city and with an open endedness that solvable and and offer up multiple interpretations. wounded by ingeborg apathy towards his avowal of love for her and the bothersome man wanders into the same subway station and stands at the same platform and leers at the same couple aggressively making out and and jumps. this time and he can not die. how can you die when youre already dead. hit repeatedly by train after train and andreas face turns into ground beef while his body contorts in angles previously seen only seen in art. when the bothersome man realizes that love and death are out of his grasp and he seeks out the man from the club and who was willing to say what goes unsaid in this city of the walking dead. which is represent death and not life and has no meaning. getting to the bottom of the mystery behind andreas whereabouts drives the narrative and and to the filmmaker credit and this enigma is satisfactorily addressed and in a scene that recalls spike jonze being john malkovich and when andreas crawls through a tunnel in order to cross over into another world and like a newborn baby and which resembles the portal to malkovich brain that craig schwartz charges people to crawl through. andreas attempt to traverse the great divide presents a beguiling paradox. since heaven and earth are literally separated by a wall and this vulnerable boundary acts as a perfect encapsulation of the atheistic belief that heaven is a place on earth. but at the same time and heaven is proved by the reality of a hell while the place that andreas is sent to after being banished from the city of his destination. ---------------------------------Answer Question Below----------------------------------

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