
Known in Norwegian as “Søndagsengler”, the film critiques a small, tightly‑woven church community. It follows preacher’s daughter Maria as she struggles to break free from the oppressive religious expectations and the control of her father, seeking personal autonomy and a life beyond the rigid parish.
Does The Other Side of Sunday have end credit scenes?
No!
The Other Side of Sunday does not have end credit scenes. You can leave when the credits roll.
Explore the complete cast of The Other Side of Sunday, including both lead and supporting actors. Learn who plays each character, discover their past roles and achievements, and find out what makes this ensemble cast stand out in the world of film and television.

Bjørn Sundquist
Johannes

Jørgen Langhelle
Young Priest

Hallvard Holmen
Seaman

Kai Kennet Hanson
Bård

Petter Width Kristiansen
Pål Helge

Hildegun Riise
Mrs. Tunheim

Marie Theisen
Maria

Martin Dahl Garfalk
Olav

Ina Sofie Brodahl
Anna

Sylvia Salvesen
Moren

Ann Kristin Rasmussen
Birgit

Kristian Aaby
Stian

Henriette Engesæth
Tulla
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What is the name of the fourteen‑year‑old protagonist?
Read the complete plot summary of The Other Side of Sunday, including all major events, twists, and the full ending explained in detail. Explore key characters, themes, hidden meanings, and everything you need to understand the story from beginning to end.
The fourteen-year-old Maria, teetering on the edge of puberty, grows up in a small town in the 1950s under a strictly religious household led by her father, the priest Johannes. He qoylds her days with hard rules: the piano, modern clothing, cosmetics—all are forbidden, and church attendance plus modest dress govern every moment of life. The atmosphere is quiet, orderly, and suffocating, shaping Maria into someone who willingly conforms to the expected moral order.
When her mother falls ill and receives treatment in a hospital, Maria discovers a window of opportunity to taste a freer life. She decides to spend a weekend in a cabin with a small group of teenagers. During their stay, one of the boys grows close to her, and the moment overwhelms her; she flees back home. Even after her mother returns, Maria clings to these leisure moments with friends, intensifying the clash with her father’s stern moral code and his fear that she is drifting toward sin.
Mrs. Tunheim, Hildegun Riise, an outsider in the church community yet a trusted confidante, becomes the only person she can lean on. The two women share confidences and secrets, and they find joy in their own affection, a subtle rebellion that deepens Maria’s sense of self. When the priest learns of this bond, he tries to persuade Maria to abandon her path. Maria chooses not to disclose the incident to anyone, keeping her private world intact as best she can.
Tragedy follows when Mrs. Tunheim commits suicide, leaving Maria reeling in grief and despair. Yet, amid the ache, she summons a new courage and prepares to face life again. She bids farewell to her friend on the riverbank where Mrs. Tunheim drowned, saying to her,
Everything between us will remain as it was.
The film closes with Maria walking along a road, the music of the seaside-inspired classic song You’re Nobody Till Somebody Loves You drifting in the background, underscoring themes of freedom, self-discovery, and the slow, hopeful emergence from a rigid world toward a personal awakening. The story traces a path from strict moral constraints toward a sense of autonomy, as Maria navigates love, faith, and the pull of a life lived on her own terms.

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