‘The ugliest man in words’ is a classic

Sundance review:'The ugliest man in the world is a classic'

World’s ugliest person is an amazing feat, if only to introduce audiences to Renate Reinsve, who carried this film with ease. As a result, she took to the international stage with the Best Actress award at the 2021 Cannes Film Festival and was noticed by Hollywood. Much of that success also comes from writer-director Joachim Trier, who wrote the character Julie in her mind, tweaking her film to tap into that natural talent. As a result, Julie is injected with an inherently explosive liberality that stems from an unbridled naturalism that Reinsve invested in her.

Divided into 12 interconnected chapters with prologues on either side, World’s ugliest person bring elements of both Annie Hall and Grand Budapest Hotel. The inner and outer monologues overlap, thoughts are voiced in a similar fashion, while its liberal documentary style makes things visually fluid. The conversations and situations feel organic, every single element still grounded, even as the camera captures seemingly improbable situations.

As a film, it embodies so many universal truths both visually and verbally, that this is guaranteed to resonate with everyone. Given the complexity of the role, both technically and otherwise, it’s surprising how long it took Reinsve to achieve fame. During its two-hour run, domestic squabbles, relationship dynamics, and sexual discussions go on without even feeling fake.

Reinsve is actively supported by a colorful cast with impeccable character performances, helping to enrich and expand the emotional palette on offer. The candid and reckless admissions that are voiced, age gap concerns addressed, and emotional stability often feel like the least exciting path to explore. Anders Danielsen Lie and Herbert Nordrum play two men in Julie’s life over a span of four years, each bringing something unique to challenge her stereotypes about love.

Funny strokes and tragic events come together as she is pulled between two men, each of whom share a common adoration and need for her at various points in this journey. That sense of organic progress, pervasive from the start, never loses momentum, never accepts conventions, and never misses the mark. In cinematic terms, this is a gloveless romance that explores our need to connect without censorship.

Oddly enough, despite the obvious structure that divides everything into 14 perfectly defined textures, it never feels constrained by structure. If anything, these chunks of indeterminate length behave more like principles, since they’re seamlessly put together. Discussions around motherhood, infidelity, and social media obsession are also covered, but never distracted from Julie’s journey.

The overwhelming visual metaphors combined with some abstract fairy tales, perfectly capture the emotional mood through the cinematic medium, while inspiring awe, raising the audience’s expectations. fake. and turned this little Swedish film into a chilling classic. When it comes to portraying relationships in a witty, subversive, and barbaric way, World’s ugliest person deserving of all the accolades that come with it.

Trier clearly loves his subject, showing a lightness and delicacy in his dialogue that will get everyone’s attention. From the wedding disruptor to the careful stills photographer, Julie is a mass of contradictions as both lover and mate. Neither Lie’s Aksel nor Nordrum’s Elvind really have territories in her world, instead, she chooses to benefit from the energy she generates.

This is how real relationships work out every day, when people meet or miss each other in life’s hilarious journey. In the fabric of this film, Trier is careful not to judge, or in fact invite, judgment from his captive audience. All people are asked to do is experience the moment, enjoy Julie’s journey, and draw their own conclusions. Remedies are also lacking, as humor gives way to bitterness with sick play.

Similar to Annie Hall in its description of long-term relationships, World’s ugliest person is a film that continues to gain after many viewings. Whether the script is a personal preference or not, no words can convey the impact of seeing this movie for the first time. Unsentimental, brutally honest, and amazingly complex in its execution, smart cinema like this is a rarity.

https://wegotthiscovered.com/movies/sundance-review-the-worst-person-in-the-world-is-an-instant-classic/ ‘The ugliest man in words’ is a classic


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