Norwegian writer-director Mari Storstein talks about the process behind her remarkable debut feature My First Love

My First Love (Min første kjærlighet) - sold by TrustNordisk and produced by Thomas Robsahm, who also produced The Worst Person In The World (Verdens verste menneske), is a very poignant coming-of-age story about a young woman, Ella (Marie Flaatten), leaving home to study and experiencing the highs and lows of youthful romance. It’s also, though, a raw and painful account of the prejudices and obstacles facing disabled people in a society where they’re either invisible or relentlessly patronised,.

Following its Tallinn premiere, the film will be released by TrustNordisk in late February.

What are your memories of your own student days? Were you able to live independently, or were you too required to stay in an institution?

The film is not directly autobiographical. It is based on stories from many people I know, along with my own experiences. Even if I have not lived through exactly what Ella does in the film, many elements are taken from my own life. Especially the encounters with the system and the barriers she faces. As a disabled person, freedom and self determination are not guaranteed. You have to fight for these things again and again, and that is still a big part of my life.

As for my own student years, they were good ones. Like Ella, I had to apply for personal assistance in a new municipality when I moved there to study. I did receive it, and that made it possible for me to study filmmaking.

Did you stay in an institution like Soltun?

I have not lived permanently in an institution like Soltun, but when I was a child I spent one weekend a month in a place that resembled it. Even though a weekend a month does not sound like much, the memories stayed with me. It was less about the people who worked there and more about the feeling of being placed somewhere simply because of who I was. Since we were “different”, it was seen as acceptable to send us there.

I always felt sick on the days I had to go. And I could not wait to return home. One memory that has stayed with me is a night when I called out and called out without anyone hearing me. Lying in the dark, unable to move and unable to get anyone’s attention, is something that has stayed in my body for many years.

How did you come together with Thomas Robsahm as producer?

I was introduced to Thomas by a common friend who is also a documentary filmmaker. This was in the summer of 2020, while he was in the middle of producing The Worst Person in the World. Thomas really wanted to see this film happening, and so we started working on the script and the financing of the film.

How long did it take to develop My First Love and get it greenlit?

We began writing the script in the summer of 2020, started shooting in the summer of 2024, and finished the film this autumn.

I had a clear idea of the film from the start, but the script went through several drafts. We also continued to develop it during the shooting. One of the final scenes in the film was rewritten the night before we shot it. I remember feeling a bit sorry for the actors when I sent the changes that evening, but they handled it so well. I think the scene became much stronger because of those adjustments.

Could you say something about your collaboration with Marie Flaatten?

We began the casting process early, and developed the script in parallel. We knew we had to search widely for the right person to play Ella. We were open regarding age and gender, and prepared to rewrite the script based on who we found.

I remember watching Marie’s casting tape for the first time. She was so open and engaged, and already had strong thoughts about the project. Marie was not chosen only because she brings an authenticity and depth to the role that is invaluable. She is a fantastic actor with presence, strength and vulnerability.

We worked closely to find Marie’s Ella. Disabled characters are often portrayed as either heroes or victims, and a common stereotype is that we are all very “nice”. We wanted Ella to be a complete human being. She is cool, but she can also be irritating. She has prejudices about the others at the institution. She is strong, and she is vulnerable.

How did you cast Niels Skaber as the boyfriend? Did he have an immediate rapport with Marie?

I had an immediate feeling of “this is Oliver” when I saw Niels’ first tape. It is hard to explain, but he has a natural warmth and charm that felt right for the character. Oliver is outgoing and someone everyone likes, but he also carries insecurities that not everyone sees. Niels conveys this in a very genuine way.

When Marie and Niels met for the first time, I had no doubt. They were Ella and Oliver. They brought openness and curiosity into the process, and both contributed to shaping the dialogue. We also worked closely with our intimacy coordinator to create a safe space where they could explore chemistry and intimacy.

Could you comment on the shooting style?

We wanted a style that felt real and intimate. Both the cinematographer and I have a background in documentary film, and we leaned into that rather than creating a distanced visual style. The script grew out of many years of documentary work — from the stories I could not capture with a documentary camera.

We worked in a way that allowed the actors as much freedom as possible. We avoided complicated choreography that limited their movement. Instead, we let them move naturally, and adapted the camera to them.

What do you think will surprise audiences the most about the film?

Perhaps that a film told from a perspective many people are unfamiliar with can still feel universal and recognisable.

And I think some will be surprised by how disabled people are actually treated in Norway in 2025.