This review originally ran September 2, 2022, in conjunction with the miniseries’ premiere at the Venice Film Festival.
Lars von Trier’s “The Kingdom Exodus” warrants comparison with David Lynch’s “Twin Peaks: The Return” for multiple parallels between the two: Both are peak prestige TV with indelible auteurist hallmarks, returning for their third seasons after a quarter-century hiatus. Both invoke the supernatural, concoct elaborate lore and boast captivated cult-like followings.
Though the Danish “Kingdom” is of course much lesser known, its first two seasons did make enough of a cultural impact through international theatrical runs to spawn a Stephen King–created American remake, “Kingdom Hospital.”
“Kingdom Exodus,” making its world premiere at the 2022 Venice Film Festival, gets much more meta. In the cold open, Karen (Bodil Jørgensen) watches von Trier’s signoff from the previous season’s finale on TV. Frustrated by the series’ loose ends, she heads to bed and...
Lars von Trier’s “The Kingdom Exodus” warrants comparison with David Lynch’s “Twin Peaks: The Return” for multiple parallels between the two: Both are peak prestige TV with indelible auteurist hallmarks, returning for their third seasons after a quarter-century hiatus. Both invoke the supernatural, concoct elaborate lore and boast captivated cult-like followings.
Though the Danish “Kingdom” is of course much lesser known, its first two seasons did make enough of a cultural impact through international theatrical runs to spawn a Stephen King–created American remake, “Kingdom Hospital.”
“Kingdom Exodus,” making its world premiere at the 2022 Venice Film Festival, gets much more meta. In the cold open, Karen (Bodil Jørgensen) watches von Trier’s signoff from the previous season’s finale on TV. Frustrated by the series’ loose ends, she heads to bed and...
- 11/26/2022
- by Martin Tsai
- The Wrap
MK2 Films has scored a raft of strong pre-sales on “The Worst Person In The World,” the anticipated third film in Joachim Trier’s “Oslo” trilogy, following “Reprise” and “Oslo, August 31st.” The company has also unveiled a first look still of the film ahead of the virtual EFM, where it will present a promo-reel to buyers.
The Paris-based banner, whose sales team is spearheaded by Fionnuala Jamison, has already sold the film to France (Memento), Benelux (Cineart), Russia (Russian World Vision), Poland (M2 Films), Former Yugoslavia (Mega Com Film) and The Baltics (Kino Pavasaris).
Now in post, the movie’s shoot was initially delayed at the start of the pandemic and was eventually completed in two phases, in August and November 2020. The film is expected to world premiere this summer.
Produced by Thomas Robsahm at Oslo Picture, the film is a comedy drama about love in our times and...
The Paris-based banner, whose sales team is spearheaded by Fionnuala Jamison, has already sold the film to France (Memento), Benelux (Cineart), Russia (Russian World Vision), Poland (M2 Films), Former Yugoslavia (Mega Com Film) and The Baltics (Kino Pavasaris).
Now in post, the movie’s shoot was initially delayed at the start of the pandemic and was eventually completed in two phases, in August and November 2020. The film is expected to world premiere this summer.
Produced by Thomas Robsahm at Oslo Picture, the film is a comedy drama about love in our times and...
- 2/26/2021
- by Elsa Keslassy
- Variety Film + TV
Iram Haq’s What Will People Say won best director, Norwegian film, actor and screenplay.
Iram Haq’s What Will People Say triumphed at the Amanda Awards on Aug 18, winning the Norwegian national awards for best director (Haq), best Norwegian film in theatrical release, best actor (Adil Hussain) and best screenplay (Haq).
The film, a hit at festivals including Toronto, Les Arcs, AFI Fest and Goteborg, is about a Norwegian teenage girl who clashes with her traditional Pakistan-born parents.
Erik Poppe’s Utoya story U-July 22 won best actress and best supporting actress for newcomers Andrea Berntzen and Solveig Koløen Birkeland.
Iram Haq’s What Will People Say triumphed at the Amanda Awards on Aug 18, winning the Norwegian national awards for best director (Haq), best Norwegian film in theatrical release, best actor (Adil Hussain) and best screenplay (Haq).
The film, a hit at festivals including Toronto, Les Arcs, AFI Fest and Goteborg, is about a Norwegian teenage girl who clashes with her traditional Pakistan-born parents.
Erik Poppe’s Utoya story U-July 22 won best actress and best supporting actress for newcomers Andrea Berntzen and Solveig Koløen Birkeland.
- 8/20/2018
- by Wendy Mitchell
- ScreenDaily
Exclusive: Trier kicks off Oslo shoot with Eili Harboe in lead role.
Louder Than Bombs director Joachim Trier started shoot on his new feature Thelma (working title) in Oslo yesterday (Sept 20) with Le Pacte’s Jean Labadie and Thomas Pibarot newly aboard the project as co-producers.
Eili Harboe, whose credits include The Wave and Kiss Me You Fucking Moron, will star in the title role. The cast also includes Kaya Wilkins (aka musician Okay Kaya) and two actors from co-writer Eskil Vogt’s Blind, Ellen Dorrit Petersen and Henrik Rafaelsen.
Thelma is a supernatural thriller about a young woman who falls in love and discovers that she has terrifying and inexplicable powers.
The film – set in Oslo and west Norway – is shooting for 44 days in Oslo, Norway and in Gothenburg, Trollhattan and Kiruna, Sweden. Budget is $5.7m (Nok 47.5m).
Thelma will be Trier’s most genre-influenced work yet; VFX work will be done by Copenhagen-based outfits Ghost and...
Louder Than Bombs director Joachim Trier started shoot on his new feature Thelma (working title) in Oslo yesterday (Sept 20) with Le Pacte’s Jean Labadie and Thomas Pibarot newly aboard the project as co-producers.
Eili Harboe, whose credits include The Wave and Kiss Me You Fucking Moron, will star in the title role. The cast also includes Kaya Wilkins (aka musician Okay Kaya) and two actors from co-writer Eskil Vogt’s Blind, Ellen Dorrit Petersen and Henrik Rafaelsen.
Thelma is a supernatural thriller about a young woman who falls in love and discovers that she has terrifying and inexplicable powers.
The film – set in Oslo and west Norway – is shooting for 44 days in Oslo, Norway and in Gothenburg, Trollhattan and Kiruna, Sweden. Budget is $5.7m (Nok 47.5m).
Thelma will be Trier’s most genre-influenced work yet; VFX work will be done by Copenhagen-based outfits Ghost and...
- 9/21/2016
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
Joachim Trier’s drama Louder Than Bombs won four prizes including Best Director, while The Wave scooped Best Film.Scroll down for full list
Joachim Trier’s Louder than Bombs [pictured] starring Jesse Eisenberg and Gabriel Byrne won four Amanda awards at the 44th Norwegian Film Festival (Aug 20-16), including Best Director, Best Screenplay, Best Cinematography and Best Editing.
In 2015, the film was the first Norwegian feature to play in competition at Cannes for 36 years.
Marking the first English language film made by Trier, Louder Than Bombs follows a father and his two sons who are made to come to terms with the death of their mother, a notable war photographer.
Roar Uthaug’s The Wave took the night’s top prize, Best Norwegian Film in Theatrical Release. Submitted by Norway to last year’s Academy Awards for the best foreign-language category, it depicts the 1934 Tafjord Tsunami which resulted in the death of 40 people.
Rune Denstad Langlo’s [link...
Joachim Trier’s Louder than Bombs [pictured] starring Jesse Eisenberg and Gabriel Byrne won four Amanda awards at the 44th Norwegian Film Festival (Aug 20-16), including Best Director, Best Screenplay, Best Cinematography and Best Editing.
In 2015, the film was the first Norwegian feature to play in competition at Cannes for 36 years.
Marking the first English language film made by Trier, Louder Than Bombs follows a father and his two sons who are made to come to terms with the death of their mother, a notable war photographer.
Roar Uthaug’s The Wave took the night’s top prize, Best Norwegian Film in Theatrical Release. Submitted by Norway to last year’s Academy Awards for the best foreign-language category, it depicts the 1934 Tafjord Tsunami which resulted in the death of 40 people.
Rune Denstad Langlo’s [link...
- 8/30/2016
- ScreenDaily
Exclusive: Sales launch in Cannes on Trier’s first genrefilm
Memento Films International (Mfi) has boarded sales on Norwegian director Joachim Trier’s romantic supernatural thriller Thelma about a young woman unaware that she possesses frightening powers.
After his English-language Louder Than Bombs, Trier has returned home for the Norwegian-language thriller, which is due to shoot in Oslo this autumn.
“This is an exciting new departure for Trier,” said producer Thomas Robsahm at Oslo-based Motlys, who is lead producing.
“The remarkably constructed and suspenseful script manages to find an original new take on genre material without losing any of Trier’s unique and personal touch. The film will be Trier’s most visually ambitious project to date, with striking VFX.”
Alexandre Mallet-Guy of Memento Films Production in France, Mikkel Jersin at Denmark’s Snowglobe and Mattias Nohrborg at Sweden’s B-Reel are on board as co-producers.
Trier will work with his usual team of co-writer Eskil Vogt, director...
Memento Films International (Mfi) has boarded sales on Norwegian director Joachim Trier’s romantic supernatural thriller Thelma about a young woman unaware that she possesses frightening powers.
After his English-language Louder Than Bombs, Trier has returned home for the Norwegian-language thriller, which is due to shoot in Oslo this autumn.
“This is an exciting new departure for Trier,” said producer Thomas Robsahm at Oslo-based Motlys, who is lead producing.
“The remarkably constructed and suspenseful script manages to find an original new take on genre material without losing any of Trier’s unique and personal touch. The film will be Trier’s most visually ambitious project to date, with striking VFX.”
Alexandre Mallet-Guy of Memento Films Production in France, Mikkel Jersin at Denmark’s Snowglobe and Mattias Nohrborg at Sweden’s B-Reel are on board as co-producers.
Trier will work with his usual team of co-writer Eskil Vogt, director...
- 5/12/2016
- ScreenDaily
In his new film "Louder Than Bombs" Norwegian director Joachim Trier masterfully captures the underlying, aimless desires of very decent people who struggle to be authentic in their own lives. Written by Trier and Eskil Vogt, the film is structured as a collage of episodes that fit together like a perfect puzzle, packed with emotions let loose by the death of the mother and wife of a suburban New York family. The action does not offer anything overtly dramatic, yet the emotional intensity is louder than bombs which the dead woman famously photographed in the war zones around the world. Those still images pulse with explosive emotions; the actual lives of the protagonists are woefully devoid of that raw energy of authentic, harsh life. The players, however, keep searching for what they cannot have and do not possess any more.
Three years on, the father and two sons keep trying to make sense of their lives, left rudderless after the death of the mother and wife. She is played as beautifully as ever by the wonderful Isabelle Huppert. Cinematographer Jakob Ihre gives us a full measure of her expressive face in unforgettable close ups on the scale of Bergman’s famous shots of Victor Sjöström’s face in "Wild Strawberries," or Visconti’s close up of Burt Lancaster in "The Leopard." We see her in flashbacks, edited to perfection by Olivier Bugge Coutté, with her searching eyes that have seen so much outside her suburban domestic routine. She knows that she loves her husband and sons, yet struggles to understand why that knowing of love does not exactly feel like love when she is with them.
For them, her comings and goings to and from the war zones have filled the family life with a measure of second-hand authenticity. Her death pushes them to examine the void that suddenly presents itself as mundane and unsatisfying. They have everything the people she photographed lacked, yet they are the ones left lacking.
Each tries to understand his own circumstances and his place in his own life. Living seems a difficult task, and it’s that difficulty of living in a contemporary western society that is the subject of Trier’s precise, powerful examination. He guides his actors to heights rarely seen these days, with Gabriel Byrne’s father outshining everything he has done before this film, and Jesse Eisenberg as the older son and very confused new father giving a perfectly calibrated, nuanced performance. The emotional center of the film rests with the teenage son, played by the incredibly talented Devin Druid in a career-making turn that might very well net him a handful of awards.
Trier’s work with actors, his writing, and his taut treatment of the difficult subject of contemporary search for our human core in a world that lacks any sense any more is the great sum of "Louder Than Bombs'" emotions. Trier catches us in his carefully plotted net and lets us feel the confused emotions of people living good but ultimately unsatisfying lives, struggling with the realization that it is what it is and not more. This is a film that charts a whole new course, a singular one, with people trying to figure out how to live life after it is no longer possible to just let life play itself. An extra marital affair or a computer game are the devices that provide semblance of a pulsing life, in the same way that any activity outside of daily routine provides anyone living today with a sense of accomplishment. Trier beautifully captures the moment in time of the still comfortable middle class, and displays a great understanding of the human soul - at least the woefully self-centered and self-examining, quietly and politely dissatisfied one that inhabits the body of a Western man and woman.
Three years on, the father and two sons keep trying to make sense of their lives, left rudderless after the death of the mother and wife. She is played as beautifully as ever by the wonderful Isabelle Huppert. Cinematographer Jakob Ihre gives us a full measure of her expressive face in unforgettable close ups on the scale of Bergman’s famous shots of Victor Sjöström’s face in "Wild Strawberries," or Visconti’s close up of Burt Lancaster in "The Leopard." We see her in flashbacks, edited to perfection by Olivier Bugge Coutté, with her searching eyes that have seen so much outside her suburban domestic routine. She knows that she loves her husband and sons, yet struggles to understand why that knowing of love does not exactly feel like love when she is with them.
For them, her comings and goings to and from the war zones have filled the family life with a measure of second-hand authenticity. Her death pushes them to examine the void that suddenly presents itself as mundane and unsatisfying. They have everything the people she photographed lacked, yet they are the ones left lacking.
Each tries to understand his own circumstances and his place in his own life. Living seems a difficult task, and it’s that difficulty of living in a contemporary western society that is the subject of Trier’s precise, powerful examination. He guides his actors to heights rarely seen these days, with Gabriel Byrne’s father outshining everything he has done before this film, and Jesse Eisenberg as the older son and very confused new father giving a perfectly calibrated, nuanced performance. The emotional center of the film rests with the teenage son, played by the incredibly talented Devin Druid in a career-making turn that might very well net him a handful of awards.
Trier’s work with actors, his writing, and his taut treatment of the difficult subject of contemporary search for our human core in a world that lacks any sense any more is the great sum of "Louder Than Bombs'" emotions. Trier catches us in his carefully plotted net and lets us feel the confused emotions of people living good but ultimately unsatisfying lives, struggling with the realization that it is what it is and not more. This is a film that charts a whole new course, a singular one, with people trying to figure out how to live life after it is no longer possible to just let life play itself. An extra marital affair or a computer game are the devices that provide semblance of a pulsing life, in the same way that any activity outside of daily routine provides anyone living today with a sense of accomplishment. Trier beautifully captures the moment in time of the still comfortable middle class, and displays a great understanding of the human soul - at least the woefully self-centered and self-examining, quietly and politely dissatisfied one that inhabits the body of a Western man and woman.
- 4/9/2016
- by Vera Mijojlic
- Sydney's Buzz
For Glenn Heath Jr. at Little White Lies, Joachim Trier's Louder Than Bombs, with Gabriel Byrne, Isabelle Huppert, Jesse Eisenberg, Devin Druid, David Strathairn and Amy Ryan, "doesn’t share the raw and ambiguous resolve of [Oslo, August 31st]; not many films do. But it does prove that Trier is a filmmaker passionately attuned to the types of long-gestating conflicts of miscommunication and doubt that most studio pictures often sensationalize." Screen's Dan Fainaru argues that "the success of Trier’s deceptively complicated script relies to a great extent on working with the same technical team who have been there since the beginning. They include cinematographer Jakob Ihre and editor Olivier Bugge Coutte who has tied an unusually complicated collection of puzzle pieces into one coherent picture." We've got clips and more reviews. » - David Hudson...
- 5/18/2015
- Fandor: Keyframe
For Glenn Heath Jr. at Little White Lies, Joachim Trier's Louder Than Bombs, with Gabriel Byrne, Isabelle Huppert, Jesse Eisenberg, Devin Druid, David Strathairn and Amy Ryan, "doesn’t share the raw and ambiguous resolve of [Oslo, August 31st]; not many films do. But it does prove that Trier is a filmmaker passionately attuned to the types of long-gestating conflicts of miscommunication and doubt that most studio pictures often sensationalize." Screen's Dan Fainaru argues that "the success of Trier’s deceptively complicated script relies to a great extent on working with the same technical team who have been there since the beginning. They include cinematographer Jakob Ihre and editor Olivier Bugge Coutte who has tied an unusually complicated collection of puzzle pieces into one coherent picture." We've got clips and more reviews. » - David Hudson...
- 5/18/2015
- Keyframe
Beginners is a film defined by grace, both narratively and aesthetically: while the relationships of the central characters revolve around their ability to love and forgive each other, the movie itself comes together with quiet certitude and beauty, gently sliding through the life of its hero. Writer-director Mike Mills' second feature is all about a man, played by Ewan McGregor, who is dealing with the death of his father and the variety of emotional fallout from the end-of-life revelations that changed their relationship, but the film doesn't once feel mawkish or cheap. It would be the easiest trap in the world to fall into here, too: the man's father came out of the closet a few years before he died, meaning the film could have morphed from a human drama into a series of sermonettes on tolerance, openness, filial duty, etc., without anyone stopping it. But Mills has far...
- 6/20/2011
- by Daniel Carlson
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