A review of Four Little Adults
by Rahel Jung
Written during the MIOB LAB of Cultural, Creative and Festival Journalism at the European Film Forum Scanorama
“You`ve given me so much already. Please give me a little more,“ asks Matias (Eero Milonoff) in a prayer to God at the beginning of Four Little Adults. And this is exactly what he gets in writer-director Selma Vilhunen`s romantic comedy about new modes of loving and the struggles that accompany them.
When parish-priest Matias`s wife Juulia (Alma Pöysti) finds out that he is having a serious affair with Enni (Oona Airola), her perception of her perfect marriage is totally shattered. As a last restort, she suggests opening up the relationship and diving into the polyamory adventures.
Juulia, a rising political star in the Equality Party, exploring the new rules of non-monogamy, is mesmerized by the lip-sync drag performance of American singer-songwriter LP`s track “Lost on you“ by non-binary nurse Miska (Pietu Wikström) and falls in love — later learning that Miska is already in a poly-relationship.
When Enni becomes unexpectedly pregnant by Matias, even the guidebook “The A to Z of Polyamory“ can’t help anymore. And while the middle-aged couple`s pre-teen son Miro (Iivo Tuuri) says, unimpressed, “I know what polyamory means“ the four little adults find themselves on a never-ending rollercoaster ride of romantic entanglements — one where more questions than answers arise.
And even when Matias` mother (Kaija Pakarinen) — the incarnation of the establishment — advises those concerned to abandon their childish behavior, such a course of action is never an option. But it`s also clear from the beginning that, in the end, everything and everyone will be alright.
This serious-minded and entertaining study of gender, jealousy and generosity is unfortunately not as brave in its realisation as in its ambition. The classy cinematography by Juice Huhtala recalls high-quality TV series; likewise the plot which is fundamentally lighthearted despite all the crying. The story turns in circles and lacks an in-depth analysis of the impact a polyamorous lifestyle has on working environments such as parliament and the church.
The strong performance by Pöysti — who seems to have become the face of Finnish cinema after Tove (Zaida Bergroth, 2020) and Fallen Leaves (Aki Kaurismäki, 2023) — carries the film. However it remains uncertain whether Milonoff`s role is written in a soulless manner or if the fault lies with the performer`s interpretation.
In terms of visual metaphor, the birds which are often seen flying over Helsinki`s rooftops rather straightforwardly epitomise the search for freedom and fulfillment that is pursued in Four Little Adults; Vilhunen suggests that polyamory might be a way to achieving these goals for white, middle-aged, middle-class members of Finnish society.
