Joachim Trier
In our latest report from Sundance Film Festival 2022, Wilson Kwong reviews Fresh and Worst Person in the World – both films demanding attention.
A young woman battles indecisiveness as she traverses the troubled waters of her love life and struggles to find her career path.
You’ll definitely laugh, and you might cry, too; whatever the case may be, you’re guaranteed to be moved by Trier’s empathetic storytelling.
Thelma is an otherworldly take on the coming-of-age film, telling the story of a girl starting college and discovering herself in the process.
In her final report, Emily recalls more films from the Heartland Film Festival, including Thelma, Dolores, Liyana and more.
In the final week at Adelaide Film Festival, Alex Lines recalls some of the films he saw, including documentaries & inspired foreign dramas.
We report from BFI London Film Festivals with reviews of The Party, Loving Vincent, Brawl on Cell Block 99 and many more.
Stephanie Archer discusses three foreign films from this year’s NYFF that examine realities shattered and the consequences that follow.
Tomas Trussow documents his third day of Toronto International Film Festival, in which he saw 5 films, from sci-fi to down-to-earth drama.
Is it possible for a contemporary America drama dealing with grief not be referred to using the “post-9/11” prefix? Louder Than Bombs charts the emotional complexities of a middle-class New York family as a retrospective article about their deceased war photographer mother/wife is published in the New York Times, resurfacing their most base fragilities. There is nothing in the film that remotely refers back to that harrowing event in American history, yet for many audiences it’s embedded in the subtext – New Yorkers who are confused how to react after this unexpected turbulent event in their lives.
If you haven’t seen Norwegian writer/director Joachim Trier’s previous films, Reprise and Oslo, August 31st, then clear your plans for the evening, track down these films, and settle in for some feels. They’re two of the most empathetic films of recent years, applying complex emotional landscapes to potentially unlikable young men. In doing so, Trier and co-writer Eskil Vogt capture just how vulnerable we are to life’s blows and remind us that people deserve more compassion than we often mete out.
