There is a rug-pull moment in Magnus von Horn’s handsome and captivating period yarn that cleaves his drama into “before” and “after.” It is a testament to the rich and assured storytelling on offer in his Cannes competition entry “The Girl with the Needle” that, although the moment seems to come out of nowhere, it instantly makes sense and serves to ratchet up the tension, propelling the story’s evergreen themes into a confrontational new register.
In post-World War I Copenhagen, we drop in with Karoline (Vic Carmen Sonne) as she is being evicted from a pleasant room in a respectable part of town. With her soldier husband Mia, her factory worker wages don’t cover the rent and she has fallen into arrears. The rapacious need of this time is telegraphed as mere minutes after Karoline receives her marching orders, the woman replacing her arrives to look over the room.
In post-World War I Copenhagen, we drop in with Karoline (Vic Carmen Sonne) as she is being evicted from a pleasant room in a respectable part of town. With her soldier husband Mia, her factory worker wages don’t cover the rent and she has fallen into arrears. The rapacious need of this time is telegraphed as mere minutes after Karoline receives her marching orders, the woman replacing her arrives to look over the room.
- 5/15/2024
- by Sophie Monks Kaufman
- Indiewire
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