La Jeune Femme à l'aiguille

Swedish director Magnus von Horn demonstrates his mastery when it comes to creating a disturbing and controversial film that is even more impactful because it is based on real events.

It's engaging, but it will also turn off quite a few.

With its more than deserved nomination for best international film, this Danish film that takes us to post-war Denmark hides a disturbing story accompanied by a direction without caution by Magnus von Horn , who in each shot, in each frame and in each decision takes us towards a sinister door from which it is difficult to recover once we understand the whole path hidden in this wonderful script. With a black and white staging that accentuates much more the dark side of a humanity that does not know of time, but of evil, which is magnified by some secondary characters that surround our protagonist in the most bizarre and distressing that one can appreciate.

It's a movie that, if you accept the challenge, will grab you and make you live a corrupted experience with a brutal story that leaves nothing to be desired but to question how timeless a story like this can be, but if you're not willing to take on that challenge, it's a movie that will make you have a bad time every time.

A protagonist who provides a light.

Victoria Carmen Sonne's performance is the key to keeping us determined to follow this story. The actress takes all the recognition in her interpretation of a character who has suffered, beaten down and forgotten in every sense. A character that captivates you and despite all the evil that surrounds her, it is a sigh of light that the Danish actress delivers on screen. We can also add a supporting character like Trine Dyrholm who also steals all her moments with a sinister character who really manages to cause fear between the bizarreness of her behavior and her madness.

Mature cinema.

A mature film that is not afraid to be controversial in form and content and that, with a direction that follows the same path, leaves the feeling that it is a film that has a lot to tell and a lot to exploit in terms of its reception by the viewer. Its director consolidates himself as a director of weight and daring, which makes it more interesting than it already was.

Conclusion.

One of the best international films of the year, without a doubt, Danish cinema once again demonstrates the narrative strength it has and a director who once again positions his name as one to always follow. A sinister proposal that leaves you disturbed when you discover its twists and its real intentions, a film for the brave.

"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.

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!

Yes, it is a little slow in its pace and one needs to get used to the rhythm of the film. That said, it is probably watched without any distractions in the cinema, not at home with a smartphone nearby.

The movie itself is a strong remnider of how rigid and cruel social norms and legislation can be. What I really liked was the ambivalence of the characters portrayed. The evil in the world didn't stem from some fetishised indidivual background, but from the power of capital - after all, it is the material inequality, displayed by the true villain of this movie, the mother of the rich fabric owner, which lays the ground for individuial cruel action. A more equal society would have not give birth to needs such as killing the offsprings of the poor and forgotten.

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.