Trier’s ‘Sentimental Value’ Explores Family and Artistic Conflict

Oslo, Norway – The latest film by director Joachim Trier, titled ‘Sentimental Value‘, dives deep into complex familial relationships and the struggles of artistic expression. The story revolves around Nora, a troubled theater actress played by Renate Reinsve, who must confront her estranged father, filmmaker Gustav Borg, portrayed by Stellan Skarsgård, after their family’s home is put up for sale following her mother’s death.

Gustav has been absent from Nora’s life for fifteen years, having left the family after a divorce that left deep emotional scars. His return is not only to finalize the sale of the family home, which has been in his family since 1918, but also to reconcile with his daughter and persuade her to star in a new film he has written, inspired by his mother’s suicide.

At the Deauville Film Festival, where one of Gustav’s earlier films is screened, he meets American actress Rachel Kemp, played by Elle Fanning, who becomes entangled in this family drama. Rachel is fascinated by Gustav and ultimately irks Nora by performing the lead role he intended for her.

Trier, who co-wrote the film with Eskil Vogt, draws from his own family history. He describes how his mother’s decision to sell their family’s home triggered memories of the 20th century’s effects on his family, particularly during World War II. The film captures the emotional layers of their experiences and how they shape artistic narratives.

Filming took place largely in a villa staged to represent the Borg family home. Producer Andrea Berentsen Ottmar noted that finding an authentic setting that matched their vision was challenging, as many villas are renovated and lack soul. After thorough scouting, they utilized a home from Trier’s previous project, achieving the necessary atmosphere.

Noteworthy is Trier’s choice to shoot various decades using different film stocks, enhancing the authenticity of the narrative across time. Cinematographer Kasper Tuxen explained how they tailored their approach to reflect the changes in filmmaking aesthetics over the decades.

As the film unfolds, themes of identity, legacy, and reconciliation emerge through the strained interactions between father and daughter. Skarsgård resonates with his character’s struggles, relating them to his own life as a father of eight and recognizing the balance between creative ambition and family responsibilities.

In the poignant climax, as Gustav and Nora try to bridge their emotional divide, viewers witness a nuanced performance that hints at reconciliation without providing a conventional happy ending. Trier aims to evoke genuine emotion, blending elements of comedy and drama to create an authentic cinematic experience. Skarsgård summed it up: ‘There’s no happy ending. Closure doesn’t exist, but there’s hope for acceptance.’