La Jeune Femme à l'aiguille

When rating watched movies, i always feel like there's something could be done differently or better, so even for "very good" movies i give 9 star.

This is my first 10 star rating. It's a perfect movie.

It's quite difficult to describe it as the whole movie has so many layers. It was emotionally on the edge and nervewrecking, very painful to watch. Even when you start to see the faint ray of hope, it soon vanishes brutally. But that's how the life was after the WW1. Povetry and broken people.

It was also visually gorgeous, eventhough there's nothing gorgeous in that movie.

Highly recommended, but not for snowflakes.

It's the last days of The Great War and Karoline is barely eking out an existence working in a factory. She believes herself to be a widow as her husband disappeared during the war (even though Denmark didn't really participate), but is not getting the benefits for widows because he has not been listed as dead.

A lot happens during the movie and I don't want to go into spoilers, so I won't go deeper into the plot except that the marketing is emphasizing something that is not as big a part in the movie as someone might expect.

While that does get a lot of attention in the latter half of the movie, to me the real value of the movie is the feeling of reality around Karoline's story. When was the last time someone in a movie was trying to convince a potential tenant to take up an apartment by telling them that they can get running water for two whole hours a day (from ten to noon, which might not be much of a selling point as most people would be working during those hours)? When was the rampant drug use of the era portrayed so candidly? Even what Dagmar is doing was relatively commonplace back in the day, although I would hazard a guess the trend was downward at this point in time and it wasn't happening as much as it had before.

I actually might have enjoyed the movie more if the marketing was different and Dagmar wasn't brought up, because it created expectations. While Dagmar is a major character, the movie is clearly about Karoline and her hardships. On the other hand, it is hard to say how I would have felt seeing the name Dagmar Overby on a door if I hadn't known beforehand that this real life person was used in the movie. (It should be noted that the movie is inspired by real life events rather than based on, so they are trying to maintain a certain distance to the real Dagmar).

I do feel some part of the audience will find it hard to symphathize with Karoline, as she does sometimes seem to make the right decision just a little too late. At the same time, there isn't that much time or opportunity for ethics when you are just trying to survive in a world where the odds have been stacked against you. On the other hand, while we know the hope she is given would be for nothing in this world, we still understand why she gives into it.

I like the look of the film. It's black and white and the whole city seems to be decrepit and barely holding up. It reminds us of the lack of interest in the well-being of or even disdain for the working poor. Have things really changed that much? The time being depicted happened over a century ago, but the concept of female bodily autonomy is under constant assault again.

Of course, all art is in some way a mirror of the time it was made, but it just seems easier to see the similarities here.

This movie has some of the scariest scenes I've seen in any film this year, even compared to the best horror movies of 2024. The first act feels like a darker, more chilling version of Anora. It starts with themes of survival and desperation, as a working-class woman in post-WWI Copenhagen finds an opportunity to change her social class. But the story evolves into something much deeper, diving into ethical dilemmas around motherhood, sacrifice, and the difficult choices women face when their options are limited.

And yet, there's even more to unpack in this stunningly shot, expertly crafted period drama. It's about moral ambiguity, isolation, loneliness, societal stigmas, female agency, power dynamics, and the lingering impact of war. The only thing holding it back for me is how heavy-handed it gets with the subject of abortion, especially in the final speech, which felt a bit out of place.

It hit me hard with bricks of sadness and empathy for the main character, thanks to Vic Carmen Sonne's incredible performance as the lead. Every other actor is equally impressive. The black-and-white cinematography is breathtaking, the music is hypnotic, and the overall production is top-notch. With all its dark and heavy themes, this movie is an absolute blast to watch. Highly recommended!

Magnus Von Horn's powerful film inspired by true events, beautifully composed in black and white. This Danish-Polish-Swedish co-produced film demonstrate aesthetics definitely from couple of possibly sources from German expressionist to film noir genres.

The story surrounds a young woman, Karoline (played by Victoria Carmen Sonne) who begins a new life in the city, coming from the surges of the World War era or "Great War". Her husband was considered a war casualty thus begins a new romance leading to a unexpected pregnancy.

Not winning approval of the relationship with her wealthy lover's family, she in unknown depression figures to do away with the unborn. She befriends Dagmar (played by Trine Dryholm) and her daughter Erena, decides to continue to birthing a child for "adoption" option.

This storyline with plot twists and tropes goes into complete darkness with murders, drug addition and human trafficking. It was inspired by 1921 serial killer, Dagmar Over by who murdered numerous infants. This film show try show, in some troublesome way in humanizing these crimes, letting the viewer debate on the killer's motivation.

Brilliantly directed with top-tier performances by both Von Somme and Dryholm along with exceptional soundtrack, to create emotional and anticipation tension. It's monochromatic visual are such sights to view the gritty aspects of urban 1920s life, some much dramatic.

Its visceral richness, presents an insight even to subcultures developing at the time from circuses and their side show, showing the "freaks" of nature. It challenges the intimacy of motherhood, somehow showing it underbelly of darkness.

Van Horn's handling of actual event information into a fictional account is truly astonishing, great detail paid to the era's tradition and domestic customs. This film is being marketed as a psychological horror film but it's more of an emotional portrait of human conflict, sparked by a gender political discourse.

"Inspired by true events." Four words that will knock the wind out of your lungs as the film fades to black.

In the dirt and smog of 1919 Copenhagen emerges this atmospheric, haunting portrait of one woman's descent into the grim reality of impoverished motherhood.

In the age of short attention spans that are worringly shortening, von Horn's dark film may be a little slow for the average modern movie goer. But for those who can engage with it, what awaits is a black and white cinematic feast with imagery reminiscent of silent movies that is both a treat for the eyes and a dagger to the heart.