A 28-year-old man named Robert Bogerud [Svein André Hofsø Myhre] has his own office at the Marihøna hotel and another workspace in his father’s nearby police station. One night, a phone call breaks his routine, and he answers with a flat greeting: “Hello this is Robert Bogerud. Meet me at the red line strike.” <br>
> Hello this is Robert Bogerud. Meet me at the red line strike
Driven by a mix of curiosity and aimlessness, he heads to a downtown strip club in search of company, where a stripper performs on stage and the atmosphere hums with a tense mix of bravado and loneliness. The encounter marks the start of a far more tangled arrangement than he expects, pulling him away from his ordinary offices and into a household that will redefine what he’s willing to risk.
The next morning, a traveler named Liv Bernhoft Osa as Rita Stjernen arrives at his door. She asks if he is the man named Robert Bogerud and insists that her home is the only place where he can secure a case. He agrees and leaves the Marihøna behind, accompanying Rita to a house that feels weathered and unfinished, a place where the walls seem to hold memories and secrets. Inside, he meets her husband, Nils Jørgen Kaalstad as Lars Erik Stjernen, and her sister Isabel Stjernen, played by Ida Elise Broch. Isabel is clearly bored and restless, a sensation that ripples through the household and unsettles Robert from the start.
The household becomes a stage for blurred boundaries and shifting loyalties. The matriarchal energy of Rita—together with Lars Erik and Isabel—asks Robert to define his role: what does it mean to be a home keeper and a detective when the people you’re supposed to serve can’t quite articulate what they want? He explains that he uses his feelings as part of his work, a line that unsettles and intrigues those around him. Soon, the old house begins to feel like a labyrinth where rooms leak secrets, and midnight finds Robert slipping between doors, trying to understand what each family member is hiding.
As the days unfold, news arrives that Olav Stjernen is someone they’re trying to locate, a case that seems tied to long-buried events. This man, whom the family claims to have known, becomes the thread that pulls Robert deeper into the mystery. The pursuit pulls him back and forth between the house and the outside world, and his efforts to escape the tension of the household only lead to more entanglements and more questions.
The tension within the home grows when Robert’s presence—intended to calm things down—appears to fuel Isabel’s aggression and disrupt the family’s routines. A recurring moment finds him in Isabel’s workspace, where a catalog and a provocative image heighten the pressure and test the boundaries of hospitality and intrusion. The situation escalates to a point where the Marihøna staff become nervous about Robert’s pranks and unpredictable behavior, while Rita’s protective stance toward him becomes both a shield and a spark for further complications.
In time, Robert’s relationship with Rita intensifies, even as the household dynamics threaten to overwhelm him. The emotional pull is complicated by the fact that Lars Erik resists the intrusion and sometimes reacts with anger, culminating in moments where Robert is forced to retreat or hide. A dramatic turn leads to a jail scene that oddly aligns with Isabel’s presence, and Robert begins plotting an escape that finally works—though not without a shocking consequence: Lars Erik shoots him.
What follows is a bittersweet ending that reorients Robert’s world. He reaches a place he has yearned for, accompanied by Isabel. The pair walk toward a hopeful horizon, with Monopoly in hand as a playful symbol of negotiation and chance, and Olav Stjernen’s memory lingering in the backdrop. Isabel appears in a bikini, and though they discuss marriage, Robert responds with a quiet line that hints at resistance to neat endings: > That’s what you say.
As the credits approach, a familiar pop song—Livin La Vida Loca—plays, underscoring the chaotic blend of pursuit, danger, and desire that defined Robert’s journey. Back at the edges of the story, Rita’s predicament and Lars Erik’s imprisonment hint at consequences that echo beyond the film’s final image, leaving a sense that escape is never truly complete and that the loop of risk and reckoning can repeat again and again.
