There was a discussion online a few weeks ago about Obsession and Backrooms, namely with regard to how this generation’s filmmakers use other filmmakers as a point of reference almost exclusively. Instead of culling from literature, art, poetry, and other media, their homage is strictly cinematic, and the result is reductive cinema in conversation with only cinema. I thought of that discourse a lot while watching Kraken, the latest from Norwegian filmmaker Pål Øie.