Norwegian Director Joachim Trier Talks ‘Sentimental Value’: ‘People That Deny Emotions Make Terrible Choices’

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Ella Fanning enthusiastically declared, “The carefree ‘Summer of Youth’ has passed, hail the ‘Joachim Trier Summer!'” This lively statement was made during the Cannes Film Festival, as she donned a fun t-shirt to express her excitement.

Following three years of dedicated effort, this Danish-born Norwegian filmmaker chuckles and expresses his desire for a ‘three-year vacation’ after the debut of “Sentimental Value“, he says.

Featuring Renate Reinsve, making her return to working with Trier following their successful collaboration on “The Worst Person in the World,” this new film also stars Stellan Skarsgård, Inga Ibsdotter Lilleaas, and Fanning. It received praise from critics upon its premiere. Unlike certain other films competing for the Palme d’Or, it resonated deeply with audiences as well.

He expresses gratitude, fatigue, yet predominantly relief. Yesterday, he sensed a positive response, and today, he shares that he was immersed in a space filled with affection. It’s a deeply personal, emotional work of cinema, he confides to EbMaster.

In the movie, sisters Nora (Reinsve) and Agnes (Lilleaas) bid farewell to their deceased mother and welcome their estranged father Gustav, a film director who’s having trouble launching his next project. However, Gustav has penned a script based on his own mother, who committed suicide when he was young. He desires the rising star Nora to portray the main role in this production.

Although he’s talking about a fellow director, Trier “doesn’t feel like Gustav,” he says.  

Initially, I wrote the piece focusing on the sisters’ viewpoints. Later, I attempted to make Gustav more relatable, given his background in the ’80s and ’90s film era. You’re correct that it might be my concerns about concluding a directing career creeping into the portrayal of Gustav’s situation.

He notes: “I appreciate Westerns because they often portray the closing of a chapter. It’s simply the natural course of events. As time passes, more and more individuals from that era are leaving our field, and eventually, it will be my time to go as well.

Before he strolls off akin to John Wayne in “The Searchers,” Trier is more than willing to discuss “Sentimental Value” and the reunited trio, who find themselves once again in their old home, grappling with hidden secrets – among them, the mystery surrounding Gustav’s mother’s past.

The most challenging aspect for me was portraying the lingering pains of World War II, a conflict my family experienced firsthand. This project delves into political and historical realms more than some of my previous works. I was raised with a grandfather who was part of the resistance; he was captured and narrowly escaped death, which left an indelible mark on him. This experience created an atmosphere of survival in our parents’ homes, and it significantly influenced emotional interactions.

Trier aimed to investigate the journey of inherited sorrow within a household and among family members. Collaborating with frequent partner Eskil Vogt provided a helpful perspective, enabling him to maintain some emotional detachment.

Additionally, there’s a concept known as ‘humanist cinema.’ Instead of focusing on antagonists – although the world seems to revolve around them at present – I prefer exploring the intricacies behind why people inflict harm and disillusionment upon each other. I am captivated by compassion and tenderness, which I believe stems from my own character as a person who genuinely appreciates others. I’m an extrovert and a seeker of knowledge, and if some find this style too ’emotional,’ well, that just happens to be who I am.

Gustav tends to suppress his feelings, causing difficulties for his daughters. However, he still has the ability to craft a script.

As a film enthusiast, I’d put it this way: “The essence of the narrative lies in his limited abilities. Initially, we perceive him as being callous for exploiting Nora’s stardom. We assume he’s merely capitalizing on her fame. To some extent, Gustav Borg and men of his era weren’t nurtured to express themselves emotionally or tenderly in the way modern society expects.

He’s frequently asked about the portrayal of gender in his characters, as they are an extension of himself yet distinct. They represent him and yet are not. Renate, whom he knows, can provide input. He ponders why it feels simpler to create a character like Gustav, who is much older, compared to crafting a female character similar in age.

I was given permission to express my feelings by crying. We spent a lot of time discussing emotions while skateboarding together, yet we were also quite tough. I suffered multiple broken bones, but those moments weren’t the times for tears. There seems to be a sense of embarrassment around showing emotions, but people who refuse to acknowledge their feelings often make poor decisions.

As a third-generation director, he’s always had a camera by his side since childhood. He finds filmmaking more natural than writing or other tasks. Despite hiring American actress (Fanning) to star in his English film, Trier prefers his unique approach to production at this time.

Growing up, it seemed like everybody around me was into music. Unfortunately, I wasn’t very good at drumming and ended up getting booted from the punk band I joined. However, my passion for music still lives on, as I strive to create a ‘band’ in the form of filmmaking today,” he explains.

In the vast realm of cinematics, I find myself captivated by both daring innovation and mainstream appeal. Yet, I ponder, is it not feasible to strike a balance? Can a creative work thrive within the comforts of home while still resonating globally?

Currently, I am living my dream – that of a local band with an international following. Now, ‘following’ might sound rather pompous, but let me rephrase; I am fortunate to have an audience, however humble or vast it may be.

With this project, it truly seemed like we were genuinely motivated. We have Neon in the U.S., and they’re doing an excellent job, but what is Hollywood today, if not something more complex? I appreciate having films with Tom Cruise, and I’ll definitely watch ‘Mission: Impossible,’ but I would never sacrifice the creative freedom I’ve enjoyed since our first film. I can’t think of another system that could provide me with this unique working style.

He doesn’t take it for granted, he admits. 

For each movie I create, there’s a whisper at the back of my mind suggesting it might be my last. There’s never a sense of security. Producing a film always involves navigating through small crises. Reminds me of an interview with Philip Roth where he mentioned that with every new book, it seemed unattainable. I found his sentiment incredibly reassuring.

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2025-05-23 04:17