To be weak so as to be polite; social construct suffering, a dread of horrors rendered inevitable through common courtesy and good manners. This meticulous nihilism is at its most uneasy when initiating low-stakes provocations too minor to dispute yet too malicious to ignore, be it an offering of meat to a vegetarian or a radio played ever so slightly too loud. These acts continue to gnaw while Tafdrup indulges the civility of their recognition as an elaborate genre construct in cold distance, tapping the particularly Euro vein of unsettling psychology composed through glances held ever so slightly too long and shots seemingly too fixated upon domestic mundanity. The goodwill hesitance at play ensures that each instance of evil, glacially tipping from narrative formulation into actualised violence, is that which people will volunteer themselves into before they dare say "no" - a reveal Tafdrup treats as an operatic tragedy of man's unbecoming, but in motion just a heavily postured feel bad vibe looking to shock with a dual revelation on the purpose of its title.