‘Sentimental Value’ Review: Joachim Trier’s Resonant Family Drama Treats a Beautiful Old House as the Foundation for Healing

by

I generally perceive “therapy through filmmaking” as a potentially detrimental approach, as I believe artists with unresolved personal issues should address their problems privately. However, Joachim Trier’s “Sentimental Value” serves as a compelling counterexample. In this film, the emotional well-being of the two main characters – filmmaker Gustav Borg (Stellan Skarsgård) and his estranged daughter Nora (Renate Reinsve) – becomes intertwined with a movie project they were supposed to create together. The impact here is powerful because we’re not forced to watch Gustav’s film, but rather, we witness the heartwarming tale of their reconciliation through the artistic process.

Although not as avant-garde as Eskil Vogt’s latest film, “The Worst Person in the World,” this multi-layered family drama (also penned by Eskil Vogt) possesses a similar knack for exploring unique perspectives on emotions that one might assume cinema has already mined extensively. One of the key takeaways from the previous film was its lead actress, Reinsve, who exudes a relaxed, authentic, and thoroughly contemporary charm reminiscent of Diane Keaton during Woody Allen’s prime period, combined with an unpredictability that can seem breathtakingly radiant one moment and almost heart-wrenchingly sorrowful the next.

In the play “Sentimental Value,” it’s clear where Nora’s distress stems from: her father who abandoned his family when she and her younger sister Agnes were still children. Although Gustav was known for prioritizing work over personal life, it has been a long time since he produced a successful movie. Interestingly, at the very moment their mother (and former wife) succumbs to death, he reappears with a screenplay he intends to film in the family home – a magnificent two-story Dragestil mansion that plays a crucial role in the narrative and is even given a poetic introduction. He wrote the main character with Nora in mind, and it seems that if she agrees, it could not only rekindle their relationship but potentially save both their lives.

If you find the description a bit over-the-top, that’s understandable, as you haven’t encountered Nora yet. She’s a bundle of anxiety, her stage fright so severe it seems to threaten the success of her latest performance on opening night. The director, much like in “Birdman,” masterfully portrays the crushing dread of a backstage meltdown, showing her tearing at her costume and pleading with a colleague for drugs or a slap, all while struggling with her own discomfort in being herself. In essence, we’re dealing with an extremely anxious and restless individual.

Nora hasn’t forgiven her father yet and decides to avoid his project, believing it’s over for good. However, she later discovers that the film is progressing, with Rachel Kemp (Elle Fanning) as the main actress. This revelation feels like a betrayal to Nora, similar to if her father had been unfaithful. There seems to be a hint of manipulation in this situation, as Trier makes Nora take a step back while focusing on how Gustav convinces Rachel to accept the role and then guides her into portraying it like Nora would. (Fanning delivers the role with genuine emotion, which contrasts sharply with what might have been a superficial portrayal of artistic compromise.)

Gustav has a knack for being charming, yet he’s not shy about delivering blunt criticisms towards others. In the rehearsals with Rachel, they delve into the characters’ motivations, which prompts viewers to ponder similar questions about the film itself. “Sentimental Value” may not be cryptic, but it provides plenty of opportunities for diverse interpretations. It carries an unusual mood, beginning with Terry Callier’s almost mystical folk song “Dancin’ Girl,” and maintaining the nostalgic tunes of yesteryears (while blending in modern industry aspects, such as Netflix).

Instead of viewing “Sentimental Value” as primarily a father-daughter tale or Rachel’s presence as an attempt to replace Nora, Trier and Vogt are focusing on a different dynamic: the relationship between Nora and her sister Agnes (Inga Ibsdotter Lilleaas). Nora took on a level of responsibility due to Gustav’s departure and their mother’s illness at an early age, which she wasn’t fully prepared for. Now, it seems that Agnes is the one caring for Nora.

It appears that Gustav has a history of involving his friends in his films rather than hiring professionals. This was evident when he cast Agnes, as a child, in one of his most celebrated productions. Although this experience brought them closer, it left Agnes feeling neglected after the filming ended. Now, Gustav wants to cast his grandson, and while Agnes initially opposes the idea, she acknowledges that taking on the lead role could be beneficial for Nora, who has been struggling with the emotional stress of her mother’s death and her father’s return.

In a symbolic sense, the Borg family home appears to be crumbling, subtly hinting at deep-seated issues within their household. The film implies this collapse could serve as a form of redemption, potentially suggesting that creating art can function as a method for healing or reconciliation.

Read More

2025-05-22 02:22