Boredom as a Subversive Act: Nicolaas Schmidt’s ‘September Afternoon’ Challenges the Status Quo

Nicolaas Schmidt’s feature-length debut, September Afternoon, has generated considerable buzz ahead of its world premiere at the Locarno Film Festival. The film’s unique approach to storytelling and its deliberate rejection of sensationalism in favor of the mundane have sparked interest among critics and audiences alike.

Schmidt’s latest work marks a return to Locarno for the filmmaker, who received critical acclaim for his previous film, First Time [The Time for All but Sunset — Violet], in 2021. September Afternoon follows a couple whose summer romance is disrupted by autumn’s arrival. Their plans for one last day together at the coast are soon derailed by blustery winds.

Schmidt aims to “use ‘dead time’ as raw material” and “stretch mundane moments until they collapse in their emptiness.” This approach resonates with an era marked by an endless pursuit of extraordinary experiences, where social media platforms curate highlight reels of other people’s lives. By celebrating the beauty in plain banality, September Afternoon presents a refreshing alternative to this curated reality.

Schmidt’s filmmaking style, characterized by repetition, silences, and slow pacing, creates a contemplative atmosphere that encourages viewers to engage with the film on their own terms. His decision to minimize spoken dialogue allows viewers to fill in the gaps with their own interpretations.

Critics have praised September Afternoon for its ability to capture the essence of longing and resignation in contemporary life. However, it also raises questions about the limits of this type of filmmaking. Can a director’s emphasis on the mundane truly challenge our perceptions of reality, or does it risk becoming just another exercise in introspection?

Schmidt’s approach is reminiscent of the French New Wave movement of the 1960s, which sought to break away from traditional narrative structures and focus on the everyday lives of ordinary people. However, whereas Jean-Luc Godard and François Truffaut focused on the revolutionary potential of cinema, Schmidt’s work seems more interested in exploring the human condition.

As we watch the exclusive clip from September Afternoon, it becomes clear that this is not just another movie – but a commentary on our times. The film rewards close attention, inviting viewers to slow down, observe, and question their assumptions about what makes for compelling storytelling.