Sentimental Value: Joachim Trier’s Masterful Take on Family and Art

Jake Semmel ‘27 / Emertainment Monthly Staff Writer

Joachim Trier’s Sentimental Value is one of those films that doesn’t seem like a big deal at first. It just sort of appears out of nowhere in theaters like it’s sneaking in through a back door—a dramatic fathers-and-daughters piece spoken primarily in Norwegian.  

But then people start talking, festivals begin to screen it, and, pretty soon, it’s the movie everyone’s quietly recommending to each other. It fully engrosses the audience; Trier doesn’t force anything. He lets things breathe—whether it be his actors or his set—and in letting it all sit with the viewer, the results hit harder than you expect.

The story centers on Gustav Borg, played by Stellan Skarsgård—a director who’s drifted away from his family long enough that returning feels awkward for everyone involved. Skarsgård plays him with this tired, lived-in kind of energy. He is someone who knows he messed up with his family life but isn’t entirely sure how to start repairing the damage. 

It’s not a very showy performance at all, which is what makes it work so well. 

Renate Reinsve as Nora Borg, Gustav’s eldest daughter, carries a lot of the movie’s emotional weight. There’s something incredibly moving about the way she holds everything in; you can see the tension in her face before she says a word. She makes small, tiny microexpressions that feel so honest and raw. 

Inga Ibsdotter Lilleaas, who plays Nora’s younger sister Agnes Borg, gives the film a silent hero. She’s much quieter and softer than her sister—like someone who’s been walking on eggshells for years—but she has superior personal and family lives. Together, the two actresses create a sibling relationship that feels both loving and strained, close yet not quite exactly the most comfortable, and, as the story unfolds, you can start to empathise with why. 

Elle Fanning steps into the film with a distinct, bright-eyed presence as Rachel Kemp, an American actress drawn into Gustav’s new project. Fanning plays her with this open, almost searching quality; she’s charming, but you can see the uncertainty underneath. She fits into the story without taking it over, and she’s a lot more complex than she appears to be, which makes her scenes feel surprisingly grounded.

Trier’s buttoned-down filmmaking matches the tone of the story, and DP Kasper Tuxen’s cinematography is relaxed and deceptively simple. Nothing’s flashy—the shots just sit with the characters long enough to catch moments they didn’t mean to show anyone. The editing by Olivier Bugge Coutté feels the same way, as scenes linger a little longer than expected, or conversations cut out just before things get too neat. It all works because Trier trusts the audience to pick up on the things the characters can’t say out loud. 

Many people have discussed how the movie utilizes silence, and, honestly, that’s probably what sticks out the most. Some scenes barely have dialogue, yet they say everything in a very intimate way. The humor feels the same—very quiet and almost accidental, similar to the way real families may joke around to avoid heavier conversations.

It’s a relatable dance, even across continents. 

By the time the credits roll, Sentimental Value has made its point without raising its voice. With standout performances from Reinsve, Lilleaas, Fanning, and Skarsgård, it’s one of those rare films that feels both intimate and surprisingly big in what it leaves you thinking about. The film is easily one of the most memorable releases of the year, and will absolutely be nominated come awards season.