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A hilarious offbeat comedy and a f… huge box office hit in Norway!

Directed by

Arild Fröhlich (winner of 3 awards at the Mannheim-Heidelberg International Film Festival)


Josefin Ljungman (Arn: the Knight Templar)
Nils Jorgen Kaalstad


Finn Gjerdrum and Stein B. Kvae - Paradox Pictures (Hawaï–Oslo, Dancer in the Dark)

2008 / Original language: Norvegian / Color / available in hd

Overweight, lonely and hooked on web porn, Rino, 30, lives alone in his grandmother’s old apartment. When he’s not chatting on the internet, eating chocolate or hanging with Filip his only friend, Rino draws a comic strip, brimming with women, sex and adventure.
As pathetic as his existence may be, Rino at least has his privacy… Until his father rents out one of the flat’s bedrooms to a gorgeous 19-year old Swedish girl with the hippest friends in town. Life as Rino knows it is about to pull a U-turn!.
Poignant and satirical, a huge box office hit in Norway, FATSO is a satirical and offbeat comedy that takes a fresh look at sex, love and self-acceptance.


Arild Fröhlich
(winner of 3 awards at the Mannheim-Heidelberg International Film Festival)

Askild Vik Edvardsen
(Ping-pongkingen/The King of Ping Pong - Best Cinematography at the Sundance Film Festival 2008; Bror Min/Brother of Mine – Silver Bear a the Berlin Film Festival 2002)


Fatso is a comedy - a satire on longing for sex and the dream of love and acknowledgment.

The film is based on the critically-acclaimed and best-selling novel by Lars Ramslie, also titled Fatso. This book has fascinated many readers, and in my view, it’s one of the most important Norwegian novels in recent years. I knew I wanted to make a movie of this book from the first time I read it. Rino Hanssen, as the protagonist, is cowardly shy and at the same time desperate. I think this is a very good starting point for a protagonist.

Rino is an extreme example of a shame-ridden person that lives in all of us. He exposes sides of himself that none of us wishes to talk about. In this light, there is both humor and seriousness.

Fatso, as a book, has a clear and pronounced narrator through which we comprehend Rino’s harsh perception of the world and his innermost thoughts. In the film we had to do without that, but I wanted also to use to a certain degree dreamy scenes both in the form of live action and animation to show how Rino sees himself and his surroundings. These are important considerations that help create sympathy and understanding for him, as I want the audience to identify with Rino.

I wanted to make the film’s style less social-realistic and build the experience of seeing the world through Rino’s eyes. In addition, I wanted to create the intensity and freshness that I think are thematic elements, such that we can go farther, and be more daring than if everything would be shown as social realism. Because of this, I think, it’s more fun, and still true to its source.

Ever since I read one of the first drafts of the script I’ve thought that I wanted to bring these characters to life in a film. They are many-faceted people in a very colorful universe.

I think it’s both hysterically funny and very serious at the same time. And very cinematic as well.

It’s interesting to get to know Rino, get under his skin and see if we can find ourselves there. Fatso triggers the voyeur in us, and at the same time holds up a mirror to society.

It’s supposed to be a little painful, but at the same time we can filter it by saying: “Good god, what a character!” It’s wonderful and liberating. You walk by at least one Rino every day. You just don’t see him. And I believe you could be him. Everyone can see himself in the outsider, to be the one that feels he doesn’t fit in, or is able to find his place in life. Because of this, I think Fatso is an important and universal story.

Fatso, lastly, is a story that continually shifts between outrageous comedy and deep tragedy. It’s funny when it needs to be, and serious when it must be, and I hope it’s perceived as a challenging comedy that forces the audience to see this, even as it entertains them.

Arild Fröhlich


Norwegian Film Awards 2009 - 2 nominations
Best director - Arild Fröhlich
Best Actress in a Supporting Role - Josefin Ljungman



"FATSO is great as hell!"
Filmpolitiet P3

"FATSO does for the honeydew melon what American Pie did for the apple pie."

"…a visually delicious and thoroughly engaging film."

"...an exceptional comedy."

"Rino’s gorging on rubber-vaginas, fruit, greasy food, porn and uncontrolled cumshots is hysterical."

"A film about shame and embarrassment that arouses joy and enthusiasm... One giggles and laughs really hard even through the film’s many embarrassing situations... a film that you will fall for, even if you don’t want to."
Vart Land

"Funny, moving and hits the bull’s eye! ...a liberating experience."


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