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The Worst Person in the World
The Worst Person in the World
Director:
Joachim TrierCámara:
Kasper TuxenMúsica:
Ola FløttumReparto:
Renate Reinsve, Anders Danielsen Lie, Herbert Nordrum, Maria Grazia Di Meo, Hans Olav Brenner, Deniz Kaya, Vidar Sandem, Olav Stubberud, Gisle Tveito (más)Streaming (1)
Sinopsis(1)
Julie está a punto de cumplir 30 años y su vida es un desastre. En plena crisis existencial, siente que ha desperdiciado su talento, mientras que su novio Aksel, un exitoso escritor de novela gráfica y mayor que ella, está presionando para construir una vida estable. Una noche Julie se cuela en una fiesta y conoce Eivind, un chico encantador, con quien establece una conexión inmediata. Al poco tiempo rompe con Aksel y se ve envuelta en otra relación, deseando que su vida tome un nuevo rumbo. Sin embargo, pronto comprenderá que algunas elecciones vitales están por encima de ella. (Elástica Films)
(más)Reseñas (10)
A primera vista, solo una otra película de relación conversacional cuyo final recuerda al cliché de Hollywood. Pero lo primero que me vino a la mente cuando me desperté a la mañana siguiente fue ÉL y ELLA, intensamente, como si los conociera personalmente, y la historia que se contaron el uno al otro. La escena del atardecer todavía me duele hasta el día de hoy. ¿Cuándo fue la última vez que vimos una película de relaciones tan acertada y sincera? Joachim Trier es un psicólogo perspicaz con un sentido único para dibujar personajes finamente, que anima con bonitas ideas cinematográficas: detener el tiempo en el momento de enamorarse y la adecuada representación animada de un viaje tras consumir setas alucinógenas influenciado por el peso de los pensamientos actuales de uno sobre la vida. Renate Reinsve y Anders Danielsen Lie son un dúo actoral excepcional.
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There's no question that The Worst Person in the World has cinematic value. At certain parts, I even felt like I was watching something so amazing that I wasn’t even sure I could fully grasp it in the moment. The deft use of music, sound, and silence was just perfect. So was the cinematography and the visuals of the film. Some of the conversations, the moments – my God – are so incredibly good and pleasantly uninhibited. The choice of actors fantastically complements the visuals I mentioned. And yet there were so many times I was wishing it was over already. I wish the chapters had gone by faster, and that they would never lose their original freshness. So they wouldn't sink into suffocation. I was literally craving even the smallest joke so I could drop the weight from my shoulders for a bit. A film in which I can see fragments of genius, but also feel an almost torturous lack of comprehension.
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An interesting, skillfully made attempt at a generational film, the acceptance or rejection of which largely depends on whether you are, or consider yourself to be, part of the generation that is the subject of the director's interest. Speaking of Joachim Trier, it is of course speculation on my part, but I would bet that he put a large part of himself into the character Axel. The unfortunate Axel is the character that I relate to the most in terms of age and life attitudes, and he is also the most sympathetic character. I consider his media battle with the assertive feminist to be the most entertaining and intellectually valuable moment of the film. The pleasant Renate Reinsve plays (for me) an unpleasant Julia because she is scattered and emotionally unstable, constantly searching for herself until the final credits. She represents a growing group of people who delay important life decisions for as long as possible, mainly because life on the increasingly economically suffocating but still damn rich West seems to offer (seemingly) endless opportunities and risk-free experimentation. Few people realize that this world and the life strategies that stem from it are irreversibly ending due to the ecological crisis and the unprecedentedly rapid transfer of wealth to emerging East Asia. The variety of topics that Joachim Trier presents in his film gives every viewer a chance to find "their own thing" among them. Overall impression: 75%.
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A pesar de su título, La peor persona del mundo es un drama romántico de buen corazón y conciliador sobre la búsqueda de tu camino en la vida, de ti mismo y de todo lo que te rodea. Y aunque al principio me preocupaba la duración de la misma, las dos horas con los simpáticos personajes me pasaron bien, aunque me hubiera gustado que el final de la historia me atrapara mucho más. [KVIFF 2021]
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Un tratado sobre un prólogo, doce capítulos y un epílogo de la vida de Julia, de casi treinta años, que busca su lugar en la vida e intenta reconciliarse consigo misma, sus emociones y sus relaciones de pareja. Un intento relativamente exitoso de testimonio generacional, que también intenta tocar varios otros temas serios, cautiva no sólo por las interpretaciones naturales de los tres personajes principales, sino también por la electrizante dirección y el simpático humor. Los diálogos, inteligentemente escritos, a veces parecen demasiado sabios, y la narración se descompone un poco no sólo por la división en capítulos sino también por correr demasiado entre los motivos, sobre todo hacia el final. Así, la película es más fuerte en algunos momentos y pasajes individuales muy potentes y expresivos, como el del destello inocente al borde de la infidelidad en una fiesta, el de vivir un día con el amor de su vida en una ciudad temporalmente suspendida, o el de las setas alucinógenas. La emoción pretendida al final no llega y dos horas son quizá demasiadas debido al ritmo que se desvanece lentamente, pero a pesar de ello, uno pasa un rato muy agradable y gratificante.
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Considering how Aerofilms is cramming this film through every orifice (I've seen its trailer a good fifteen times) and is clearly trying to patch up two years of COVID losses with it, I automatically went to see it already in an oppositional mindset. And thus began our fantastic mutual war that lasted until the very end. One of my first attacks was the accusation that it’s all well and good to build up an independent and idiosyncratic heroine when the film assigns her to such an idiotic and one-dimensional male character. Except that when it lets the characters talk about something other than relationships for a while, suddenly they're not so dumb and they actually drop some pretty interesting details. But what if these passages too are describing some classic male cliché, which I don't realize because I AM the cliché? And then there were those moments when I resisted jumping in on any of the suggested topics because I feared I was walking into a trap. A couple of times this proved justified, and yet I still occasionally fell for the traditional audience feel-good cliché "She's literally me!" (definitely in the scene where the heroine wanders around town, squeezing herself into someone else's party, where she’s advising others "from a medical position" on how to raise their children with two semesters of medicine under her belt), only to laugh at the film afterwards about how it has to help itself with a cancer plot. But that is suddenly the strongest passage, with a real palpable presence of finality, and it made me think of Verhoeven's Turkish Delight. By the end of the battle, I had almost acknowledged my full surrender before the film finally couldn't help itself and had to demonstrate that theme of female independence through the dilemma of having/not having a child and I was terribly annoyed by the last shot because who the fuck puts a monitor right next to the stove?! So the win goes to Trier, however in boardgame terms he didn't make it to Major Victory in the end but only to Minor. But I worked up a sweat.
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SPOILER. La película que siguió a Luckiest girl alive no podía ser otra que La peor persona del mundo :-D De género atípico, no podría clasificarlo correctamente, cada tercio es completamente diferente y, a diferencia de otros reseñadores, el último fue el que menos me gustó, pero en mi caso es un asunto personal. No quiero y tampoco me sienta bien ver tramas de cáncer en las películas, y mucho menos de páncreas. Es una parte triste de nuestra vida y la peor enfermedad de la civilización, pero no debería estar tan presente en las películas, especialmente cuando, como en este caso, la película trata de manera original de relaciones, sexualidad, infidelidad, instintos, y eso es lo que realmente me gustó mucho. Joachim Trier sabe cautivar, ya lo demostró con Thelma.
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So, what did I just watch? A romance or more of a psychological portrait of the main character? Probably a mix of both, but the truth is, after the first fifteen minutes, I was tempted to call it quits because I found myself somewhat bored. However, I stuck with it, and to my surprise, the film remained watchable despite its consistently slow pace. It didn't blow me away, but it wasn't dumb either, and I can comfortably agree with many of the ideas it presented. The overly drawn-out runtime is a major drawback, though, so I'll settle on a generous three stars. / Lesson learned: Take a moment to think before you judge someone.
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The relationship between the distracted Julie and the internally balanced Aksel reflects all possible problems and vices of the contemporary world, with which we are willingly rushing to meet our doom. I find it quite strange that during the free fall, happy moments flash by, moments that have the power to pull the viewer into joyful euphoria. And that's exactly what happened to me a couple of times while watching the movie. (85%)
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