Any film that can combine questions of mortality with funny, fully alive scenes of sex, social awkwardness, professional screw-ups and throwaway fun is a rich one. Its brilliant, full-on performance from Reinsve deserves to be celebrated far and wide.
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Quick, vibrant, pulsing with all sorts of crossover appeal until a slightly moribund energy takes hold toward the end, Trier’s film is never more fun than when Julie is second-guessing herself and/or trying to keep time from slipping through her fingers.
The film’s opening quirky comedy routines give way to something much richer––a startlingly observant, sharp, romantic, provocative, and poignant view of millennial culture and how life comes at you fast.
In essaying Julie, a character at once watery and opaque, shaped by everything around her but vocally resistant to influence, Reinsve has a tricky assignment that she nails with remarkable fluidity and grace.
Detailing the thrills and fears of turning 30 down to its mundane but absorbing minutiae, Norwegian filmmaker Joachim Trier’s fifth feature is a pure delight. Laugh-out-loud funny and heartbreaking in equal measure, it’s perhaps his best film since “Oslo, August 31st.”
This is a film of unfolding delights, providing a terrific canvas for the actors.
More than ever, Trier reveals how well he can keep shifting tones and emotional arcs without losing any narrative momentum.
Trier has taken on one of the most difficult genres imaginable, the romantic drama, and combined it with another very tricky style – the coming-of-ager – to craft something gloriously sweet and beguiling.
The film’s focus may be tight – just a few tangled, formative years – but it encompasses so much.
A chaotic, unpredictable portrait of a chaotic, unpredictable individual, The Worst Person In The World is a spirited and thrillingly uninhibited piece of filmmaking from Joachim Trier.