Sentimental Value

10/13/2025

FULL SPOILER-FREE REVIEW @ https://talkingfilms.net/sentimental-value-review-joachim-triers-profound-meditation-on-art-grief-and-forgiveness/ "Sentimental Value is, ultimately, a mature and profoundly moving movie that resonates with the authorial mark of Joachim Trier. The film triumphs thanks to the strength of its narrative and the excellence of the four central performances. It's a meditation on inherited pain, the intricate cost of artistic creation, and the difficult, yet essential, path to forgiveness and reconciliation. The assured direction and the melancholic atmosphere consolidate Trier's position as one of the most skillful chroniclers of human fragility. It's a story that feels familiar, intimate, and, above all, reminds us that true sentimental value lies in the irre

11/15/2025

When a film has the capacity to provide a template for overcoming domestic discord, promoting forgiveness and helping to heal one’s past, it’s to be truly commended for going beyond being mere entertainment or even an admired artform. It aspires to become a noble, laudable cinematic godsend, one verging on providing a valuable service to those requiring much-needed guidance and direction in their lives. At the risk of exaggeration, such is the case with the latest offering from writer-director Joachim Trier, arguably the best work of his storied career. When aging, esteemed Scandinavian filmmaker Gustav Borg (Stellan Skarsgård) unexpectedly reconnects with the family from which he has long been estranged, his two adult daughters, Nora (Renate Reinsve) and Agnes (Inga Ibsdotter Lilleaas), a

1/5/2026

Sisters “Nora” (Renate Reinsve) and “Agnes” (Inga Ibsdotter Lilleaas) are the daughters of acclaimed film director “Gustav” (Stellan Skarsgård). The former, a theatrical actor, is a bit of a loner. The latter is a little more balanced, married to “Even” (Andreas Stoltenberg Granerud) and has a son “Erik” (Øyvind Hesjedal Loven). Both have a strained relationship with their father. His past successes suggests that he was rarely there, in any qualitative sense, when they were growing up nor when tragedy impacted on the family in later years. He is currently benefitting from a bit of a revival of interest in one of his early works - a film that featured “Agnes” and he has attracted the attentions of global superstar “Rachel” (Elle Fanning). Now feeling a little revitalised, he presents a scri