In “The worst person in the world” by Norwegian Joachim Trier there is no mention of dramas or tragedies because everything is told lightly
Ccurious path that of Joachim Trier: ten years ago, with “
Oslo, August 31st »
told the day of a addict which ended tragically. Four years later, maintaining theNorwegian setting, between the countryside and Oslo,
“Family secrets”
tempered the drama deep inside unease of the protagonist (struggling with the discovery of their own homosexuality which he did not want to admit because of his strictly Catholic upbringing). Now, at forty, Trier closes his “Oslo trilogy” with
“The worst person in the world”
, where he finally seems to have made peace with the dramas of life, and the discomfort is reduced to sentimental sphere, what Alberoni called dell ‘falling in love and love, she too a harbinger of suffering and malaise but without the tragic consequences of the two previous films.
The title (antiphrastic) refers to the hero, Julia (Renate Reinsve, Palma d’oro in Cannes for best actress), who seems unable to find his way ever since, young female student, goes from medicine to psychology and then (perhaps) ends up doing the photographer. We learn about it in the prologue of the film which will then be divided into twelve chapters («1. The others», «2. Betrayal», «3. Oral sex at the time of the #metoo» and so on). A piece of life told as one TV series but condensed into two hours of film digging into the insecurities of the thirty-year-old protagonist (and for extension in ta generation) at the Research from something that maybe not even her he knows what it is.
This confusion, sentimental but also existential, is the same one that in the film makes a mysterious one overlap you off (who is telling Julia’s story? Her conscience, maybe…) al live story of the protagonist, as if objectivity and subjectivity inevitably ended up by get confused, to mix with each other. Which is what happens in the mind of the protagonist, who every now and then seems to realize of having taken a road that is too narrow for her, whether it is the age difference (and the desire for motherhood) which divides it from the forty-year-old cartoonist Aksel (Anders Danielsen Lie) or delle different ambitions which divide it from too superficial Eivind (Herbert Nordrum).
«I feel spectator of my own life “, one hears her say or hopes to” know with certainty that you are doing what you were born for. ” Nothing dramas or tragedies (as in the first two films of the trilogy) because everything is told and lived with one desired lightness, which enters the field every time Julia feels the moment has come break up. Which does not cancel out unhappiness under the skin that every now and then the paralyzes or makes her try to change your life, and which is certainly no less acute than the drug addiction or of the sexuality not accepted of the two previous titles.
In the film, his crisis comes into play domestic partnership with Askel and be born the love for Eivind as if it were only a sentimental thing, a heart game that the protagonist decides to indulge without asking too many questions, but Trier’s ability is precisely to sow i many clues of a dissatisfaction that we could define existential and that do not concern only the sphere of private feelings. There is the knot of children and that sense almost obliged of having to build a family that is not just made up of a pair; there are signs they can leave in people parental relationships unresolved, as it seems between Julia and her mother who discovered she was a lesbian at thirty or more painful like the one with the selfish and punitive father; There is the work theme than in a country as socially inclusive as the Norway ends up underestimating the need for fulfillment and gratification professional.
And so Julia’s life ends up resembling theelusive atmosphere of his city, where the day and the night they have lost theirs differences and everything is always wrapped in one strange light timeless and without contrasts. How perhaps Julia fears it will become hers vita.
November 14, 2021 (change November 14, 2021 | 21:26)
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