Imagine a heart-wrenching family gathering where unresolved ambitions and old wounds clash like unspoken thunder— that's the emotional storm at the center of Sentimental Value, Joachim Trier's poignant drama exploring the tangle of family bonds and creative passions. But here's where it gets controversial: is this story truly about the daughter’s struggles, or does the father’s charismatic shadow steal the spotlight? Dive in with me as we unpack this awards-season buzzmaker, and you might just find yourself questioning your own family dynamics by the end.
First off, if you're new to film reviews, let's clarify: Joachim Trier is a talented Danish-Norwegian filmmaker known for his introspective takes on personal and societal issues. His previous hit, The Worst Person in the World (check it out here: https://www.ft.com/content/6a7979cb-a813-4244-84e3-e6a0b40dc496), shared DNA with this new one—both are Oscar-nominated contenders, featuring the magnetic Renate Reinsve as Nora Borg, a celebrated Oslo theater actress grappling with sheer terror before an audience. Stage fright, for those unfamiliar, is that paralyzing fear of performing in front of others, and here, it plays a starring role right from the start.
We meet Nora backstage on her big opening night, determined to hide from the spotlight. Spoiler? She bolts. It's a brilliantly tense scene that sets the tone, and trust me, it's not her only brush with avoiding the limelight. Meanwhile, others in the film yearn desperately for that very attention, a plight that resonates with many seasoned directors who've felt the sting of obscurity.
Enter Gustav Borg, Nora's father—a seasoned filmmaker who's respected but currently sidelined, portrayed with fiery energy by the legendary Stellan Skarsgård. The two aren't completely alienated, but the air crackles with tension at Nora's mother's funeral. Gustav abandoned the family long ago, a backstory that weighs heavily on their interactions, painting him as the kind of person who effortlessly commands any space he enters.
Adding layers, Gustav has a habit of weaving his loved ones into his art. His masterpiece once featured Nora's sister, Agnes (played by Inga Ibsdotter Lilleaas), in a youthful role. Now, he's eyeing Nora for his next project—a deeply personal film that's meant to be his magnum opus, infused with autobiographical elements. Nora declines, convinced the movie will never materialize. And sure enough, Gustav returns to the family townhouse, a charming old home with a symbolic fissure in its foundation, hinting at underlying fractures.
For beginners in storytelling analysis, Sentimental Value shines in its subtlety. The film's atmosphere is lush and nuanced, with echoes of childhood traumas and grown-up blunders casting shadows over the narrative. Grief hangs in the air, yet it's balanced by clever humor—think a hilarious jab at IKEA that might have you chuckling through the tears. Trier expertly juggles multiple story threads, guiding the plot with graceful shifts.
But here's the part most people miss: the spotlight gradually shifts to Gustav. His meeting with Hollywood icon Rachel Kemp (brought to life by Elle Fanning) could secure funding for his film. (For context, a 'greenlight' in Hollywood means a project gets the go-ahead from producers.) There are witty nods to Netflix's industry quirks and a delightful early-morning scene that reveals Gustav's softer side. And then comes the twist—his screenplay is genuinely compelling.
In fact, Trier's own direction might be a tad too polished. As the narrative weaves its threads into a cohesive whole, every minor detail feels deliberately placed. Yet, this neatness can feel jarring in a tale about the unpredictable mess of broken families. And this is the part most people miss... or perhaps intentionally ignore: whose tale is this really? In The Worst Person in the World, despite Reinsve's star power, the story seemed to orbit her older male ex. Here, Gustav Borg's presence dominates, much like a director pulling the strings behind the camera.
Ultimately, movies mirror life in that the creator holds the reins. Is Trier subtly favoring the patriarchal figure, or is it just a reflection of familial power dynamics? That's the controversy I'd love to spark—what do you think? Does Gustav's takeover feel authentic, or does it overshadow Nora's journey? Share your thoughts in the comments; I'm curious if this resonates with your views on film and family. Meanwhile, stay updated on all things cinema by signing up for the Film myFT Digest—it's free and lands straight in your inbox.
★★★★☆
Catch Sentimental Value in UK cinemas starting December 26, and it's already out in US theaters now.
