Rendező:
Joachim TrierOperatőr:
Kasper TuxenZeneszerző:
Ola FløttumSzereplők:
Renate Reinsve, Anders Danielsen Lie, Herbert Nordrum, Maria Grazia Di Meo, Hans Olav Brenner, Deniz Kaya, Vidar Sandem, Olav Stubberud, Gisle Tveito (több)Tartalmak(1)
Julie-t négy éven keresztül követjük, a norvég lány a szerelmi életében és karrierjében is a helyes, sorsfordító döntéseket próbálja meghozni – még ha egyszer megfontolt, máskor elhamarkodott választásaival fájdalmat is okoz a szeretteinek, vagy éppen saját magának. Ahhoz, hogy Julie élete egyenesbe jöjjön, először önmagát kell megtalálnia és elfogadnia – rögös út vezet ennek az beismeréséhez. (Mozinet)
(több)Videók (5)
Recenziók (10)
Első pillantásra csak egy újabb beszélgetős párkapcsolati film, amelynek a befejezése olyan, mint egy közhelyes hollywoodi joghurt. De az első dolog, amire másnap reggel, ébredés után gondoltam, méghozzá olyan intenzíven, mintha személyesen ismerném őket, a NŐ és FÉRFI volt. És a történetük, amit egymásnak adtak. A naplemente jelenet a mai napig fáj nekem. Mikor láttunk utoljára ilyen találó és őszinte párkapcsolati filmet? Joachim Trier figyelmes pszichológus, aki különleges érzékkel rendelkezik karakterei apró részleteinek ábrázolásához, amelyeket kedves filmes ötletekkel is képes megfűszerezni - az idő megállítása a szerelembe esés pillanatában, vagy a varázsgombás utazás találó animációs ábrázolása, amelyet az aktuális életgondolatok súlya befolyásol. Kiváló színészpáros Renate Reinsve és Anders Danielsen Lie.
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This film is quite hard to pin down. It presents itself as a comedy but is more of an artsy, slightly detached drama. Julie, in her thirties, is uncertain about what she wants—pretty typical for her age, but she should be figuring it out by now. She goes through life's ups and downs, just like everyone else, but with a bit more thrown in. Sometimes, it's absurdly funny, other times it jumps to emotionally engaging and sad moments. The constant shift in emotions makes the film feel inconsistent. In the end, it's just as I said: hard to grasp and emotionally all over the place — a bit unusual for Scandinavian cinema.
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Despite its title, The Worst Person in the World is a good-hearted and forgiving romantic drama about finding your way in life, finding yourself, and discovering everyone around you. Although I was initially concerned about the long running time, the two hours spent in the company of the movie’s endearing characters just flew by quite nicely. Despite that, however, I wish the ending of the whole narrative was a lot more gripping. [KVIFF 2021]
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An interesting, skillfully made attempt at a generational film, the acceptance or rejection of which largely depends on whether you are, or consider yourself to be, part of the generation that is the subject of the director's interest. Speaking of Joachim Trier, it is of course speculation on my part, but I would bet that he put a large part of himself into the character Axel. The unfortunate Axel is the character that I relate to the most in terms of age and life attitudes, and he is also the most sympathetic character. I consider his media battle with the assertive feminist to be the most entertaining and intellectually valuable moment of the film. The pleasant Renate Reinsve plays (for me) an unpleasant Julia because she is scattered and emotionally unstable, constantly searching for herself until the final credits. She represents a growing group of people who delay important life decisions for as long as possible, mainly because life on the increasingly economically suffocating but still damn rich West seems to offer (seemingly) endless opportunities and risk-free experimentation. Few people realize that this world and the life strategies that stem from it are irreversibly ending due to the ecological crisis and the unprecedentedly rapid transfer of wealth to emerging East Asia. The variety of topics that Joachim Trier presents in his film gives every viewer a chance to find "their own thing" among them. Overall impression: 75%.
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There's no question that The Worst Person in the World has cinematic value. At certain parts, I even felt like I was watching something so amazing that I wasn’t even sure I could fully grasp it in the moment. The deft use of music, sound, and silence was just perfect. So was the cinematography and the visuals of the film. Some of the conversations, the moments – my God – are so incredibly good and pleasantly uninhibited. The choice of actors fantastically complements the visuals I mentioned. And yet there were so many times I was wishing it was over already. I wish the chapters had gone by faster, and that they would never lose their original freshness. So they wouldn't sink into suffocation. I was literally craving even the smallest joke so I could drop the weight from my shoulders for a bit. A film in which I can see fragments of genius, but also feel an almost torturous lack of comprehension.
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