Film Review: The Worst Person in the World
The compelling film poster used for Triers Norwegian-based film and title The Worst Person in the World, seem to contradict one another as we see Julie smiling at the camera running. Any disoriented and flustered mid 20-year-old fighting a world of expectations seems to engage and relate to female lead Julies (Renate Reinsve) lost and tiring adventure.
Her journey begins as we watch her changing career paths on three separate occasions; finding and losing love, navigating a waning relationship with her father, failing to fulfill familial expectations, and ultimately dealing with the death of a past lover. The story unfolds through a series of 13 chapters, each highlighting unique facets of life that force Julie to contend with the hardships of life. They say you can’t skip chapters in life or in books, and the same is true for this journey Director Trier builds for his audience.
Though it is difficult to watch Julie’s frivolous nature, it is her objection to subvert herself to a social system that calls for a rigid definition of what a woman her age should be that seems admirable, desirable even. In one scene, Julie is reminded of where her past relatives were at her age, only to recognize how adrift her life seems in relation to them.
Aksel, played as Anders Lie, is likely her most stirring and monumental relationship. He’s charming and lively, an artist and creator of graphic cartoons. Their relationship is constructed on a mutual appreciation for the arts, particularly writing. It is evident that despite the intimate relationship the two developed, their lives are not aligned. They both feel alienated from one another; the tension between them is palpable.
Julie meets Eivind (played by Herbert Nordrum) at a wedding party where the two begin flirting, particularly with idea oof cheating. Is this the moment where we lose empathy, or begin to disfavor her as she flirts her way into an episode with Eivind? The slowly paced and delayed filming style obliges the audience to ask themselves if we are to assume she is worst person in the world then? The cheating never happens, only the seed planted.
Julie slowly grows out of love with Aksel and into a dynamic and playful relationship with Eivind, who’s path of life seems to be considerably more aligned with Julie’s. In a unique and unrivalled scene, Trier freezes all characters except Eivind and Julie as they race to meet one another at a park bench in the city to solidify their feelings and relationship. Perhaps part of the reason the scene is filmed in such a manner is to reiterate to the audience that Julie does not know how to act without hurting another person in the process. Trier gives the character time to pursue what she wants without feeling the consequences.
Romantic heartbreak is a difficult sentiment, but Trier takes the concept and twists it to counteract our normal perceptions of what we think of when we think of the word heartbreak. Was Julie heartbroken? Was heartbreak not romantic, but the grief one feels after losing someone? Or did Trier pose Aksel as the definitive victim of heartbreak?
When faced with morbidity, we often see characters transition as they must contend with a more difficult existential component of life. I applaud Trier as he forces Julie to step into a more sensitive character as she grieves her ex’s death from terminal cancer. Amidst a tragic incident such as this we hear Aksel confess his profound feelings for Julie. He loved her, and all he has now is to look back at all he’s done and reflect integrally on his life, knowing consciously it’s ending soon. As they rekindle their relationship, we develop a newfound fondness for Julie as she softens to life and seems to engage with others in a more meaningful way.
With the films utilization of low lighting and blueish undertones, the viewer approaches it with such a humbling and willingness to take on the challenge of loving it, despite the characters flaws. The simplicity of the tones and colors allows for a deeper engagement with the content, facial expressions, interactions, experiences, and dialogue.