Verdens verste menneske

Wohin nur in diesem Leben? Noch recht ziellos schlingert Julie zwischen Prolog und Epilog in zwölf Kapiteln durch diese schwierige Phase um die 30. Sie beginnt und beendet Beziehungen. Sie schlägt sich mit der Familie genauso herum wie mit der Wahl des richtigen Studiums. Neue Möglichkeiten eröffnen und manche Fenster schließen sich. Das mag nicht außergewöhnlich klingen. Dennoch sind es ganz essenzielle Dinge, von denen der Norweger Joachim Trier hier präzise beobachtend, witzig und mit dem nötigen Feingefühl für diese Generation erzählt. Herausragend und hinreißend: Renate Reinsve in der Hauptrolle. (Sascha Rettig)

In Anwesenheit von Renate Reinsve.

Joachim Trier’s deft, incisive movies about youth and personal velocity portray the wobbly turning points of life and the hard decisions that come with them. Julie is at one such turning point, finding her way out of one relationship and perhaps into another (and not at all sure where to find professional fulfillment). What both Trier and his captivating star understand is the illusion and seduction of absolute certainty in matters of the heart. Reinsve brings an effortless core of emotion and sincerity to her character, who feels unassumingly recognizable in the varying degree of her self-understanding. Her boyfriend Aksel is an underground comic book artist, a relationship veteran with the benefit of hindsight but not always the ability to communicate it.
Trier reframes the chronologies of Julie’s life in fresh ways, freeing the story from judgmental narrative conventions. Having explored the lows of depression in OSLO, AUGUST 31ST and the heights of early fame in his debut feature REPRISE, Trier and his screenwriting partner Eskil Vogt craft a character study that sits with the nuances and contradictions of love and living that all too often are explained away. (Nic Rapold)

In the presence of Renate Reinsve.

Joachim Trier: PIETÀ (2000, K), REPRISE (2006), OSLO, 31. AUGUST (2011), LOUDER THAN BOMBS (2015), THELMA (2017), DEN ANDRE MUNCH (2018)