In the span of a couple of weeks, I’m introduced to two fantastic filmmakers whose films will likely be competing at next year’s Oscars. The first is Jafar Panahi’s It Was Just An Accident, and the other is Joachim Trier‘s Sentimental Value. These two films are completely different in style and tone, yet both tackle trauma in their own unique ways, leaving a haunting impression.

Despite its title, Sentimental Value isn’t too heavy-handed or overly melodramatic. The script by Trier and Eskil Vogt is infused with genuine emotions and psychological insight, beautifully realized through natural performances and delivery. Trier quickly throws us in the midst of the main character’s emotional crisis… Nora Borg (Renate Reinsve) is having a severe panic attack just before her performance at the National Theatre in Oslo. The scene is frantic yet funny, as Nora struggles to regain her composure. At one point, she even asks her co-star (Anders Danielsen Lie) to kiss and slap her to help her get over her stage fright. This effectively highlights Nora’s emotional distress, especially since she’s still mourning the loss of her mother.

Nora’s life is further complicated by the arrival of her estranged father Gustav (Stellan Skarsgård), an accomplished but aging film director who’s trying to make amends with his two daughters, Nora and Agnes (Inga Ibsdotter Lilleaas). Gustav boldly asks Nora to play the lead role in his passion project, where the story actually hits close to home. Nora immediately turns him down, unwilling to even glance at the script. Gustav, in his arrogance and naivety, thinks that a single quick solution can compensate for his lack of presence as a father.

There is no miraculous remedy for an inherited trauma such as this one, and this movie takes us on a journey that unfolds gently and quietly. The non-linear narrative intertwines various timelines and memories, yet it manages to remain clear and easy to follow. The uncomfortable silences and awkward interactions feel natural; there’s no overt sentimentality or stirring music used to manipulate our emotions. Reinsve astutely conveys the emotional scars she carries, and her feelings of brokenness and loneliness are so palpable.

Serendipitously, Gustav meets Hollywood starlet Rachel Kemp (Elle Fanning) while being fêted at the Deauville Film Festival in France. Rachel is captivated by Gustav’s talent and is keen to collaborate with him, eagerly accepting the lead role in his new film. Initially, it seems like Gustav’s script revolves around his mother, who suffered under Nazi torture during WWII, but Rachel quickly figures out that the part was meant for Nora from the start. It would have been easy to write Rachel off as just a ‘pretty young thing’ chasing fame, but she’s actually much more emotionally aware than she appears. There is an amusing commentary about Hollywood celebrities and how European filmmakers really feel about their pesky publicists.

Reinsve is excellent here; this is the second time I’ve seen her after A Different Man, but she definitely shines as a leading lady. She embodies a smart and talented woman with so much going for her, yet deep down, she feels completely lost. Skarsgård is among my all-time favorite actors, and he once again showcases his remarkable versatility and talent as a performer. It’s not an exaggeration to call him a cinema legend, as he seamlessly navigates between major blockbusters like DUNE and Marvel films, as well as more arthouse projects like this one. 

I’m equally impressed by Lilleaas as Nora’s kindhearted and empathetic sister, Agnes. The cathartic moment between the two after Agnes reads Gustav’s script is a turning point for the two sisters that’s handled with such quiet grace. Even the non-human character leaves an impression. The family home is pivotal in the storytelling, treated like a member of the Borg family who’s seen it all. From the very first scene, we are introduced to the stunning red gabled Norwegian house located just a few blocks from the director’s own residence. However, production designer Jørgen Stangebye Larsen constructed the entire house within a studio to effectively showcase the changing seasons through its windows, which act as the ‘eyes’ that observe all the memories and marks left by the families who have lived there for generations.

The film’s visual artistry is one of my favorite elements here. DP Kasper Tuxen employs a mix of handheld shots and shimmering light to craft a graceful aesthetic. I love Trier’s use of visual metaphor in a moment where three faces are merged in a loop, signifying themes of generational similarities and contrasts. The visual grace is complemented by the beautiful score from Hania Rani. Much like the film itself, it adeptly balances vulnerability with lightness and joy; her musical pieces evoke a sense of nostalgia and reflection.

Sentimental Value exemplifies how art can help us heal, but the ending is hopeful yet realistic. Trier doesn’t force the reconciliation nor pretend to have the solutions for the conflicts, allowing the characters to ruminate and find their way on their own terms. When healing occurs, it feels like a natural progression that unfolds organically.

Currently, Trier’s film ranks among my top 5 of the year, and I’m thrilled to have seen this on the big screen. I’m eager to delve into the filmmaker’s earlier projects, starting with The Worst Person in the World (2021), which also features Reinsve. With the Oscars race heating up, maybe it’s about time Skarsgård receives his long-overdue nomination.

Have you seen SENTIMENTAL VALUE? I’d love to hear what you think!