Director Marlene Emilie Lyngstad Reflects on Polarizing Response to Debut ‘Cute’ at San Sebastián

Marlene Emilie Lyngstad’s first feature, the romance drama Cute, ignited a chorus of strong opinions during its screening at the San Sebastián International Film Festival. The Norwegian filmmaker told Variety that the intensity of the audience’s reaction surprised her, but also affirmed her belief that the film’s power lies in its emotional ambiguity rather than graphic detail.

“It's fascinating that the film provokes such fierce feelings,” Lyngstad explained, noting that Cute never shows explicit scenes. “The discomfort must come from the inner battles of the characters. Maybe people are confronting their own monsters?” she added, suggesting that viewers project personal anxieties onto the narrative (Variety). Her remarks hint at a deliberate choice to keep the love story’s darker edges implied, allowing each spectator to fill in the gaps with their own fears.

San Sebastián has long been a proving ground for daring cinema, often rewarding filmmakers who push conventional storytelling boundaries. The festival’s competition slots regularly feature works that blend art-house aesthetics with provocative subject matter, and debut directors frequently find the platform both a launchpad and a crucible. In recent years, films such as The Innocents (2024) and A Love Unbound (2025) sparked similar debates, proving that the festival audience expects—and sometimes resists—narratives that blur moral lines.

The controversy surrounding Cute fits within a broader cinematic tradition where love stories become battlegrounds for cultural values. From the scandalous reception of Blue Is the Warmest Colour in 2013 to the polarized reviews of Call Me by Your Name in 2017, audiences have repeatedly split over how intimacy and desire are portrayed on screen. Critics often argue that ambiguity can either elevate a film’s artistic merit or mask narrative weakness; Lyngstad’s decision to stay “never explicit” places her squarely in that ongoing conversation.

Looking ahead, the director hopes the buzz will translate into wider distribution, noting that festival chatter can attract sales agents seeking bold, conversation‑starter titles. Whether Cute will secure a theatrical release in the United States or find a home on a streaming platform remains to be seen, but its ability to provoke discussion suggests it will continue to resonate—whether as a celebrated breakthrough or a polarizing footnote in indie cinema history.