Oslo, 31. August (2011) de Joachim Trier.
Oslo, 31. August (2011) de Joachim Trier.
I’ve been referencing romantic comedies like George Cukor, but I try to come up with new material when I talk to proper film fans so I’ve thought about this. In terms of coming of age, Eden by Mia Hansen-Løve I think was an inspiration to me in terms of how to condense time. It’s really sophisticated and has a very impressive structure of telling a part of someone’s life. I told Mia, whom I admire, that she’s condensed time so it’s not just one line, one experience, or one seating through an event, but big chunks of transition—and that’s drama when you’re making nonplot movies.
—Joachim Trier, A Stick, a Stone, the End of the Road: Joachim Trier Discusses “The Worst Person in the World”, Mubi
Joachim Trier tornou-se num dos meus realizadores preferidos e não é coincidência esta referência a Mia Hansen-Løve, que faz parte desse grupo extremamente restrito de cineastas de quem me apetece ver um filme, só por ser deles (aliás, neste momento, só me lembro de mais um, Hirokazu Kore-eda).
Melancholy is about time passing, and that is very much what this film is about. You think you live in infinity, but at some point you don’t. Choices will be made for you if you don’t make them yourself. And loss is necessary to find a place of acceptance for yourself. Unfortunately you have to go through some shit to accept groundedness. I think this is what Julie has to go through. It’s a coming-of-age story for adults who still haven’t grown up. and to some varying degree, even though I’m in my 40s, I continue to be one of them.
—Joachim Trier, A Stick, a Stone, the End of the Road: Joachim Trier Discusses “The Worst Person in the World”, Mubi
É o título de um filme de Joachim Trier, que implica algum humor e muita auto-depreciação nórdica, tradução literal de uma máxima “verdens verste menneske”, que os noruegueses dizem de si próprios quando fazem algo um bocadinho aquém das suas próprias expectativas. Sendo um bom filme é natural que existam várias interpretações e pontos de vista, mas as distâncias percorridas para encontrar nas personagens masculinas a tal pior pessoa do mundo, mais do que espantoso, é patético. Não há nenhuma pior pessoa do mundo neste filme, nem Julie a quem se refere o título e mesmo que seja isso que ela pense de si própria de cinco em cinco minutos, o mesmo tempo que demora livremente a mudar de personalidade.
The title is very Norwegian—it’s a direct translation of a catchphrase, verdens verste menneske. If you feel you’re not living up to your expectations or if you’ve done something to hurt someone, even [accidentally], you say, “I’m the worst person in the world.” The title is funny, given that this is a movie about love and romance, when you’re trying to find the best person in the world. There’s a lot of self-deprecation in Norway.
—Renate Reinsve, Vogue
It was the title of one of the chapters first, and then they used it as the title of the movie. A very important aspect was that she couldn’t accept herself, and that she didn’t like herself and her choices.
—Renate Reinsve, Interview
(…) in this film, we play with the metaphor of wanting to escape time to experience an alternate version of love—finding formal ways to do that, and letting form be a fun, involving, playful mechanism rather than an alienating, cold one. The idea is to use the language of cinema to be as free as the character Julie, who changes her identity every five minutes.
—Joachim Trier, Film Comment
Louder Than Bombs (2015) de Joachim Trier.