One of the constants in Joachim Trier’s intimate films is his ability to perform the best roles in the actors. He digs into their inner lives with an emotionally keen attitude to express his truth to connect his actors to his role. The actors don't have as many roles in the work directed by Danish-Norwegian, just like their hearts. His surpassing 2022 features, The Worst People in the Worldboth a romantic comedy and anti-friction, is a careful study of a woman navigating in a transitional period, with the realization of the real insights and boredom that most of us can recognize from some point in our lives.

Trier's beautiful new movie, Emotional value ((Emotional value), transforming your eyes from romanticism to family love, sometimes harmonious, while others are tainted by resentment and anger. The director’s observations of variable contracts between sisters and between father and daughter are strongly influenced in a film delivered in melancholy but also fermented by surprisingly humorous notes. As always, in Trier's film, its depth is sneaky and slid without announcing itself.

There are faint traces of Bergmann Emotional valueBut Chekhv and Ibsen also enter a contemporary world where they deepen our understanding of the history and memory related to the characters. By grace and empathy, it explores the turbulent power of art and the cost of a highly personal work for artists and injured people.

The life of Oslo family homes, breathing presence, expands this aspect, the place looks like a fairy tale cabin, nestled among the soothing vegetables of the garden and enjoys the spacious views of the city. But it is also a fortress of sadness, remembered, the pain embedded in the walls.

Renate Reinsve, glowing stars The Worst People in the Worldplays Nora, a famous stage actress who pours her anxiety into her tax role. As a kid, she wrote an article for her class about family houses and the history of the people who lived there before her, and precociously attributed it to its meaningful property.

A lively early scene draws on Reinsve’s natural gift, as Nora is caught, not the first time, and it’s the fear on the stumbling stage. She missed the music prompt ( ShinyThe main theme of the theme) simultaneously underwent a full collapse and refused to be coaxed by her director. Kasper Tuxen's agile camera follows her from the locker room to the backstage area, throwing herself to her company members and married enthusiast Jakob (Anders Danielsen Lie, from The worst person and earlier Trier movies). She tore her outfit and hair, begging him to fuck her, or let her fail, and hit her. He chose the latter.

Nora is a calm person after her mother, and her normal sister, Inga Ibsdotter Lilleaas, is an academic historian, is a mess. Nora retreats upstairs, listening on the heating stove, just like when she was a child she eavesdrops on her parents’ arguments or conversations with the therapist’s mother with the patient; she longs to recognize the voice of her father, Stellan Skarsgard, which is an unexpected arrival.

Once a once acclaimed film director, he met 15 years of fallow land, Gustav gave up the family at a young age, moved to Sweden and divorced his mother. Reunion is not only a bit awkward. More complicated is the fact that the mother got the house after the divorce, but the documents were never signed, which means Gustav now owns it.

Trier and his long-time co-author Eskil Vogt quickly attracted our family dynamics, building a sense of humor that even runs through the darker scenes.

Gustav told Nora that he needed to talk to her while he was in town and later showed her a script that he said was probably the best thing he had ever written and a great comeback for him as a director. He provides her with the protagonist of a young mother, who, despite his denial of his mother’s tragic story, is transparently based on his own mother’s tragic story.

Nora does not want a part of the movie or part of him, calling him drunk, and he creates nothing but pain in the family. She added that he never showed much interest in her work and could hardly even see her on stage, saying he didn't care about the drama, which he defended without apologizing.

It was an excellent character for Skarsgard, who played Gustav’s self-importance and lack of responsibility, and his gentle charm as the film progressed. The theater/movie divide seems to confirm Nora’s perception of the enemy. He doubled it up later, admitting: "It's not that I hate drama. I just hate watching it." Sure enough, he failed to show it on opening night.

Determined to continue the film, he played American star Rachel Kemp (Elle Fanning), who met honors at the festival. She was bored with Hollywood and in the projects she was lined up, she had no roles to connect with.

Rachel emotionally responds to the film's screening, which plays Gustav on a map for many years, a drama about orphan Jewish children trying to escape the Nazis to grimace the lingering young girl.

The character is played by Agnes, who says the movie is the only time she wants to be the center of her father’s universe. She immediately refused when he approached her son Erik (Oyvind Hesjedal Loven), though that didn't stop him from going around her and convinced that boy would be fun. His DVD choices that appear as a gift on his grandson’s ninth birthday are priceless. It's hard to find a kid-friendly movie.

Playing a conceited man who only has his daughter immune, Skarsgard stimulates humor (and a funny Netflix Dig), an aging Arthouse director whose success is behind him. He visited his longtime photographer, Lars Väringer, a stylish house he paid for when his work on the Lasse Hallström movie. But Peter retired in the 15 years they worked together last time. He was keen on making movies, but his fragile physical condition made Gustav give up the offer. Gustav later asked his producer, Jesper Christensen: "Am I too old?"

Trier and Vogt details a succession of generations in their morals of grief and grief, recording scenes of Agnes being imprisoned and tortured for treason during his career in Germany.

Although humor often touches on humor, the film’s past and present spin blend creates sadness, producing one of Trier’s characteristic stylized prosperity, in which multiple generations of faces flush over each other, staring at one person, one becomes the next.

Around this time, Rachel began to feel uncomfortable with the film, realizing that it wasn't her story. In one of the cutest scenes in the movie, she approaches Gustav to withdraw. He showed her more fatherly love than he might have shown his daughter. Skarsgard suddenly moved when Gustav admitted to himself the way his failed family members were unable to do so, and his arrogant certainty suddenly fell.

Later in the film between sisters, there are some wonderful moments showing how their characters switched since childhood. Nora cared for Agnes when she was a girl, but Agnes is now the protector of her more vulnerable sister, just as she assumed the caregiver responsibility with her dying mother. As brilliant as Reinsve, most unknown Ibsdotter Lilleaas outside Norway matches every emotional beat of her. "How did it happen?" Nora asked Agnes. "You turned out well, I messed up."

Unlike the Hollywood version of this story - a script that Rachel Kemp might have passed on - without a neat and neat settlement. But Trier kept the trick, surprise his sleeves and left a window that was enough to make a piece of hope.

Because it might be the standard family melodrama in poor hands Emotional value In thinking about our lives becoming a permanent repository of our memories, it remains there even after we keep moving forward. The poignant beauty of the film gradually accumulates, and every soft turn is skillfully adjusted as the past becomes more tangible.

Photographer's tuxedo (he also fired The worst person) greatly utilizes the Scandinavian light of the crystal, giving the chamber parts a panoramic amplitude. As always, Trier The worst person.

Here he booked the movie with two songs full of tenderness and warmth: Terry Callier's "Dancing Girl" and Labi Siffre's "Cannock Chase". Anyone with their soundtrack choices from Roxy Music to Michael Nyman, New Order to Pastor TL Barrett and the Youth of the Christ Choir would like to score an invitation to explore their album series.

The entire cast is excellent, but seeing Reinsve work with the director again, she draws every ounce of raw feeling in her, but also makes you think - even in this often dark and dramatic backdrop, she will do well in screwball comedy.

A scene comes to mind when Nora and Agnes sort things out in the house, deciding that they might want to think of it as a souvenir.

Nora chose a vase Agnes wanted, and when they saw Gustav reaching through the window with Rachel, Nora exited the room like a bad driver, almost smashing the vase, but grabbed it in time, ran out of the back door, crossing the yard, crossing the gap in the fence and still clutching it tightly. Her character Julie runs seem to be the perfect continuity as she walks toward the camera briskly The Worst People in the World.