Sweetness review: Obsession is a dangerous form of flattery

Music is universal. With or without words, or even in a language you don’t understand, it can evoke emotions. It’s why songs are linked to significant life events, whether it’s chosen to create the perfect moment or hearing it recalls a memory. For this reason, fans often feel a connection to a particular artist whose music has special meaning. Of course, most musicians hope their songs resonate with their listeners — both for personal fulfillment and financial gain. But some admirers misinterpret the lyrics to be more intimate than realistically possible, resulting in some scary situations. In Sweetness, a teenage fan takes her admiration too far.

Sixteen-year-old Rylee’s (Kate Hallett) favourite band is Floorplan and she’s obsessed with the lead singer, Payton (Herman Tømmeraas). She listens to their music all the time. She is finally going to see them live with her best friend, Sidney (Aya Furukawa), and they’re bursting with excitement. It’s a magical night of screaming, swooning and singing. But when Sidney leaves Rylee to wander the arena alone in search of Payton, the unthinkable happens. She accidentally runs into him — or vice versa — and to avoid unwanted attention from onlookers, Payton offers Rylee a ride home. However, when she discovers he’s relapsed, she makes it her personal mission to get him sober again.

Payton is an emo, Norwegian version of Harry Styles. He alluringly croons about love and addiction. The band’s pop ballads top the charts and teenage girls swarm their merch booth. Payton’s sobriety is a major part of his identity. He publicly acknowledges his battle with addiction, while saying he hopes being open about his struggles will inspire others. But behind the curtain, he’s off the wagon and has no intention of getting back on.

Rylee can’t help but tell her best friend that Payton is passed out in her bed. Sidney isn’t as sure about holding the pop star against his will. But Rylee convinces her that they are Payton’s only hope for rehabilitation. Moreover, Rylee’s father is conveniently out of town for the weekend and her neighbours don’t seem to notice the screaming. However, in spite of their internet cramming, it doesn’t remotely prepare them for the hardships of supporting someone through withdrawal. Though they don’t experience anything near as bad as the hard-core scenes in Trainspotting or The Basketball Diaries.

Rylee clearly has unresolved feelings around her mother’s death several years earlier. These negative emotions are magnified by the increasing presence of her father’s new girlfriend. She deeply connects with Payton’s music because she believes they have similar backgrounds, making his songs more relatable. In turn, this must mean they have common grounds for a greater understanding of each other. However, Rylee’s obsession quickly devolves into delusion. Her fixation blinds her to all the bad (and illegal) things she’s doing to the virtual stranger she’s holding hostage.

The story is very similar to Misery. Rylee wants Payton to regain his sobriety so he can start writing earnest music again and continue helping fans like her. Trapped in the suburbs, he experiences a range of reasonable emotions. Payton alternates between raging against his captors, acceptance, flattery and understanding. As the days go by, the last sentiment appears most prominently. This suggests even the faintest level of appreciation for his newfound soberness. But that doesn’t mean he stops trying to escape and regain his freedom.

Similarly, Rylee is willing to do anything to keep Payton captive until she’s sure of his recovery. But the lengths she’s willing to go may surprise audiences. As the story goes on, Rylee keeps digging a deeper hole. Already vertically challenged, it’s hard to believe she’ll be able to crawl out of it.

Director: Emma Higgins
Starring: Kate Hallett, Herman Tømmeraas and Aya Furukawa