Joachim Trier’s “Sentimental Value” Blossoms From a Collaborative, Vulnerable Set
A uniquely warm and spontaneous production environment fueled the performances of Renate Reinsve, Inga Ibsdotter Lilleaas, and Elle Fanning in Joachim Trier’s latest film, “Sentimental Value,” earning all three actresses Golden Globe nominations. The actresses describe a set where collaboration and emotional openness were not just encouraged, but essential to the film’s success.
“The three of us felt limitless in what we could do,” said Fanning, who portrays Rachel Kemp, an American movie star researching a role in Oslo, Norway, inspired by Reinsve’s character, Nora. Ibsdotter Lilleaas plays Agnes, Nora’s more grounded sister, a quietly powerful figure in her own right.
The collaborative spirit on set extended beyond the actors, fostering a sense of shared ownership over the creative process. According to Fanning, “You can feel it right when you walk on Joachim’s set. It’s like we’re all moving in unison in order to create a safe place where everyone feels included and involved. And without everyone, it just wouldn’t work. The result is that his movies are made with such joy and hope and a lightness of touch.”
This approach to filmmaking, prioritizing vulnerability and authenticity, is a hallmark of Trier’s work, and a key reason audiences connect so deeply with his films. Reinsve, who has collaborated with Trier on three projects including “The Worst Person in the World,” explained that the director doesn’t ask actors to play vulnerable, but to be vulnerable.
“When I did ‘Worst Person,’ I opened myself to something raw and unpolished that lives inside me but that not many people see,” Reinsve shared. “Showing that part of myself was really scary. But then when it was seen by the audience, the experience became so rich in hindsight. People who have seen that film come up to me and tell me about their lives. They talk about the scenes that were very personal to them. And then the circle becomes bigger and bigger and we all feel a little less lonely in the world.”
“Sentimental Value” itself is a meta-narrative, exploring the process of filmmaking through its characters. This is particularly evident in Fanning’s role, mirroring her own experience of arriving in Norway to work with an acclaimed director. “We found ourselves laughing at how meta it was,” Fanning admitted. “Joachim and I would be walking through the house and he would be explaining how the shot was going to go, just like Stellan’s character would be doing in the scene. There would be a silence and we would look at each other and just laugh at the absurdity of it.”
The film’s exploration of sisterhood also resonated deeply with Fanning, who shared an emotional moment with her own sister, Dakota Fanning, after a screening. “She has. We had a Q&A the night that she saw it and I spotted her in the audience and I just started crying. She gave me a big hug and was very emotional afterward. It’s a story about sisters, which, of course, resonates.”
One particularly poignant scene, featuring Agnes and Nora comforting each other, was born from improvisation. Ibsdotter Lilleaas recounted the moment, explaining that she felt compelled to physically connect with Reinsve. “In that scene, (Renate and I) are talking about being siblings and how our lives have turned out differently, and why. And I explain that, for me, I am the way I am because I had her. Because she was my protector growing up. And I felt very connected and moved and emotional. So I was sitting on the floor, Renate was on the bed, and I wanted to hug Renate. But I was scared about ruining the take.”
Trier’s encouragement to embrace “mistakes” as opportunities for artistic discovery empowered the actors to take risks. “But Joachim, from the beginning, had told us that it’s in the mistakes where you find the art. So in a split second I got up on the bed and hugged Renate. Kasper Tuxen, the cinematographer, jumped on the bed too. And it was like a feeling of release. I loved Renate in that moment and I just said, ‘I love you.’ And ‘I love you’ in Norwegian is not like the American ‘I love you.’ When I grew up, it was not something sisters said to each other. But I felt that’s what I should say in that moment.”
Reinsve emphasized that this level of openness is integral to Trier’s process. “This is exactly the way that Joachim likes to work. We already have that platform of improvisation and flexibility when we go into a scene. Everything is adapted to the dynamic between actors. So in this scene, Inga jumps on the bed, Kasper jumps on the bed with the camera, I’m still in character too. And it’s all because Joachim is so open in how he works. It feels like the whole room is making the scene in the moment. These are the scenes that leave space for the audience, when they can feel that authenticity. That’s what makes Joachim’s movies so magical.”
Despite their willingness to embrace vulnerability on screen, the actresses admitted to mixed feelings about watching their own performances. Reinsve acknowledged a touch of vanity, noting, “Vanity is definitely itching a bit when I see myself and I have my face all crunched together in a weird way. But I always get something out of it, craft-wise, because I can watch how my intentions got translated.” Ibsdotter Lilleaas shared a similar sentiment, stating that she avoids watching projects she doesn’t believe in. Fanning, recalling her childhood enthusiasm for seeing herself on screen, now finds herself more self-conscious, but still appreciates the immersive experience of a well-made film. “For this movie, I just wouldn’t want to miss all the other scenes.”
This story first ran in the Actors/Directors/Screenwriters issue of TheWrap’s awards magazine. Read more from the issue here.
