Name: One More Time
Genre: Comedy, Drama, Romance
Released: 2023-04-12T00:00:00+00:00
Cast: Hedda Stiernstedt, Evelyn Mok, Vanna Rosenberg, Tove Edfeldt, Miriam Ingrid

The opening scene of Jonatan Etzler’s One More Time is a doozy: Amelia (Hedda Stiernstedt), mid-life crisis in full swing, blows out her birthday candles with a wish to relive her 18th year. The camera lingers on the smoke curling from the cake—then cuts to her teenage self waking up in 2002, trapped in an endless loop of that fateful day. It’s a premise that screams “Groundhog Day” meets “Never Have I Ever,” but Etzler’s execution is far from derivative.

The film’s strongest moments come from its performances, particularly Stiernstedt’s dual role as adult Amelia and her younger self. The actor nails the awkwardness of adolescence with a physicality that feels authentic—slumped shoulders, nervous fidgets, and all—but it’s the quiet moments of self-discovery that truly shine. When teenage Amelia sits alone in the school counselor’s office (Evelyn Mok), her vulnerability is palpable, and Stiernstedt’s ability to convey both frustration and longing in a single glance is remarkable.

The supporting cast also delivers. Miriam Ingrid as Fiona, Amelia’s best friend, brings a much-needed energy to the film, while Ahmed Berhan as Arez steals every scene he’s in with a charm that feels effortlessly cool. Even Vanna Rosenberg as Amelia’s mother manages to make her brief appearances memorable, grounding the film in emotional stakes.

Where One More Time falters is in its pacing and structure. The film’s central conceit—Amelia reliving the same day—is engaging at first, but the repetition quickly becomes tedious. Etzler tries to offset this with humor and romance, but the tonal shifts feel uneven. Some scenes drag on longer than necessary, while others are resolved too hastily. The film also struggles to find its footing in terms of genre. It’s part comedy, part drama, and part romance, but these elements never fully coalesce into a cohesive whole.

The cinematography is another mixed bag. Etzler uses a lot of close-ups and tight framing to emphasize Amelia’s isolation, which works well in the more introspective moments. However, some of the wider shots feel flat, lacking the visual dynamism needed to keep the audience engaged during the slower stretches.

Despite its flaws, One More Time has enough going for it to make it worth a watch. The performances are strong, the premise is intriguing, and there are moments of genuine emotional resonance.