#the girl with the needle (2024)

[aftercrimes]

THE GIRL WITH THE NEEDLE (2024) DIR. MAGNUS VON HORN

[filmap]

Pigen med nålen / The Girl With the Needle Magnus von Horn. 2024

Dagmar's Delicatessen Podmiejska 3, 57-500 Bystrzyca Kłodzka, Poland See in map

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[creepynostalgy]

Pigen Med Nålen aka The Girl With The Needle (2024)

[cosmonautroger]

The Girl With The Needle, Magnus Von Horn, 2024

[whileiamdying]

All the Films in Competition at Cannes, Ranked from Best to Worst

The twenty-two films that premièred in the 2024 festival’s main program offered much to savor and revile.

By Justin Chang May 26, 2024

The seventy-seventh annual Cannes Film Festival came to a startling and joyous conclusion on Saturday night, when the competition jury, chaired by Greta Gerwig, awarded the Palme d’Or, the festival’s highest honor, to “Anora,” a funny, harrowing, and finally quite moving portrait of a sex worker’s madcap New York misadventures. It was startling because the movie, though one of the best-received in the competition, had not been widely tipped for the top prize, which seldom goes to a U.S. film; with “Anora,” Sean Baker becomes the first American director to win the Palme since Terrence Malick did, for “The Tree of Life” (2011), thirteen years ago. And it was joyous not only because the award was bestowed on a worthy and remarkable film but because Baker used the occasion to deliver the best, most eloquent and impassioned acceptance speech I’ve ever heard a Palme winner give.

Reading from prepared remarks, Baker singled out two other filmmakers in the competition, Francis Ford Coppola and David Cronenberg, as among his personal heroes. He dedicated the award to sex workers everywhere, a fitting tribute from a filmmaker who has put their lives front and center, with drama, humor, and empathy, in movies like “Starlet” (2012), “Tangerine” (2015), and “Red Rocket” (2021). He tossed some exquisite shade in the direction of the “tech companies” behind the so-called streaming revolution—including, presumably, Netflix, which came away as one of the night’s big winners; its major acquisition of the festival, Jacques Audiard’s musical “Emilia Pérez,” won two prizes. And, in a moment that drew rapturous applause, Baker delivered a plea on behalf of theatrical films, declaring, “The future of cinema is where it started: in a movie theatre.”

I was fortunate to see all twenty-two films in the Cannes competition on the big screen, projected under superior conditions in houses packed with fellow movie lovers. It’s my hope that, when these movies are released in the U.S., as the great majority of them likely will be, you will seize the chance to see them on the big screen as well—even “Emilia Pérez,” which Netflix may not keep in theatres for long, but whose bold dramatic and stylistic risks have the best chance of winning you over if they have your undivided, wide-awake attention.

I have ranked the movies in order of preference, from best to worst. Here they are:

1. “Caught by the Tides”

Jia Zhangke, a Cannes competition veteran, has long been the cinema’s preëminent chronicler of modern China (“Mountains May Depart,” “Ash Is Purest White”), mapping its social, cultural, and geographical complexities with great formal acumen, and also with the longtime collaboration of his wife, the superb actress Zhao Tao. Jia’s latest work, drawing on an archive of footage shot in the course of roughly two decades, unfurls a story in fragments, about a woman (Zhao) and a man (Li Zhubin) who fall in love, bitterly separate, and have a melancholy reunion years later. It’s an achievement by turns fleeting and monumental: a series of interlocking time capsules, a wrenching feat of self-reflection, and a stealth musical, in which Zhao dances and dances, standing in for millions who have learned to sway and bend to history’s tumultuous beat.

2. “All We Imagine as Light”

As the first Indian feature invited to compete at Cannes in nearly three decades, Payal Kapadia’s narrative début (after her 2021 documentary, “A Night of Knowing Nothing”) would be notable enough; that the movie is so delicately felt and sensuously textured is cause for outright celebration. Winner of the festival’s Grand Prix, or second place, it tells the story of two roommates, Prabha (Kani Kusruti) and Anu (Divya Prabha), who work as nurses at a Mumbai hospital. It teases out their personal circumstances—Prabha’s estrangement from her unseen husband, Anu’s frowned-upon romance with a young Muslim man (Hridhu Haroon)—with a quiet truthfulness that, like the glittering lights of the city, lingers expansively in the memory. (A forthcoming Sideshow/Janus Films release.)

3. “Grand Tour”

The Portuguese director Miguel Gomes (“Tabu,” “Arabian Nights”) delivered some of the most virtuosic filmmaking in the competition—as the jury recognized by giving him the Best Director prize—with this characteristically yet extraordinarily playful colonial-era travelogue. Shifting between color and black-and-white, set in 1917 but full of fourth-wall-breaking anachronisms, the movie tells a story of sorts about a roving British diplomat (Gonçalo Waddington) and a fiancée (Crista Alfaiate) he’s in no hurry to marry. But its true fascination lies in the humid atmosphere and wanderlust-inspiring splendor of its East and Southeast Asian locations, ranging from Singapore and Bangkok to Shanghai and Rangoon. It’s a movie to get lost in.

4. “The Seed of the Sacred Fig”

It’s impossible to absorb this blistering domestic drama without thinking of its dissident director, Mohammad Rasoulof, who recently fled Iran after being sentenced to prison and a flogging. (His appearance at his film’s première made for one of the most emotional moments in recent Cannes memory.) Shot entirely in secret, the story follows a Tehran-based husband (Missagh Zareh) and wife (Soheila Golestani) who are increasingly at war with their progressive-minded young-adult daughters (Mahsa Rostami, Setareh Maleki) during nationwide political protests led by women. The result is a thriller of propulsive skill and blunt emotional force, marrying the muscularity of an action film to the psychological intensity of a chamber drama. (A forthcoming Neon release.)

5. “Anora”

The director Sean Baker is near the height of his storytelling powers with this dazzling (and now Palme d’Or-winning) portrait of a Manhattan strip-club dancer (a revelatory Mikey Madison) who impulsively marries the ultra-spoiled son (Mark Eydelshteyn) of a Russian oligarch. Much comic chaos ensues, some of it pushed past the brink of plausibility, but Baker’s multifaceted love for his characters proves infectious and sustaining, as does his belief that acts of unexpected kindness can redeem even the darkest nights of the soul. (A forthcoming Neon release.)

6. “The Shrouds”

Early on in this elegantly sombre yet mordantly funny new movie, which stars Vincent Cassel, Diane Kruger, and Guy Pearce, the director David Cronenberg, a master of cerebral horror, unveils his latest invention: a technologically advanced burial shroud that allows people to watch a loved one’s body decomposing in the grave. So begins a drolly fluid inspection of classic Cronenberg themes—the deterioration of the flesh, the instability of the image, the paranoia-inducing incursions of technology into every aspect of life—but imbued with a nakedly personal dimension that the director has noted in interviews; the story was inspired by his wife’s death, in 2017, from cancer.

7. “Megalopolis”

In this legendarily long-gestating passion project, which I’ve written about at length, Francis Ford Coppola posits that our fragile, battered civilization is headed the way of the Roman Empire. The grimness of that prospect is unsurprising from a director accustomed to peering deep into the heart of American darkness (the “Godfather” movies, “The Conversation,” “Apocalypse Now”). For all that, the filmmaking here glows with a particularly hard-won optimism, even a welcome sense of play—borne out by an ensemble of actors, including Adam Driver, Giancarlo Esposito, and especially Aubrey Plaza, who fully embrace Coppola’s rhetorical and conceptual flights of fancy.

8. “The Substance”

Sympathetic or sadistic? Feminist or misogynist? Coralie Fargeat’s body-horror bonanza, which won the festival’s award for Best Screenplay, has been one of the competition’s more polarizing hits, which is unsurprising; divisiveness should be expected from a story about an aging actress and TV fitness guru who, desperate to regain her youthful bod of yesteryear, effectively splits herself in two. Whether the outlandish premise (think “The Picture of Dorian Gray” by way of “Death Becomes Her”) and its blood-gushing fallout withstand intellectual scrutiny, there’s no doubting the ferocity of the two leads, Demi Moore and Margaret Qualley, or Fargeat’s sheer filmmaking verve as she pushes her ideas to their sanguinary conclusions.

9. “Motel Destino”

Just a year after the Brazilian director Karim Aïnouz appeared in competition with a surprisingly stiff-corseted English period drama, “Firebrand,” it was bracing to watch him rebound with the competition’s most sexually uninhibited and flagrantly horny title; corsets don’t apply here, and even underwear proves blissfully optional. Set at a seedy roadside motel where the clientele never stops moaning, it’s a feverishly shambling erotic thriller starring three very game actors (Iago Xavier, Nataly Rocha, and Fábio Assunção) in a romantic triangle that plays like James M. Cain with sex toys—“The Postman Always Cock Rings Twice,” as it were.

10. “Emilia Pérez”

A trans-empowerment musical set against the backdrop of Mexico’s drug cartels might sound like a dubious proposition on paper, and, for the many detractors of this genre-melding big swing from the French director Jacques Audiard (“A Prophet,” “The Sisters Brothers”), what actually made it onto the screen was no better. But I was disarmed from the start by Audiard’s quasi-Almodóvarian vibes, his touchingly imperfect embrace of song-and-dance stylization, and, most of all, his three leads: the remarkable discovery Karla Sofía Gascón, a scene-stealing Selena Gomez, and a never-better Zoe Saldaña. All three (along with Adriana Paz) were recognized with the festival’s Best Actress prize, awarded collectively to the movie’s ensemble of actresses; Audiard also won the Jury Prize. (A forthcoming Netflix release.)

11. “Oh, Canada”

After a tense trilogy of dramas about male redemption through violence (“First Reformed,” “The Card Counter,” “Master Gardener”), the writer and director Paul Schrader has taken a gentler turn with an adaptation of “Foregone,” a 2021 novel by the late Russell Banks. (It’s his second Banks adaptation, after the 1997 drama “Affliction.”) In exploring the fragmented consciousness of an aging documentary filmmaker (played at different ages by Richard Gere and Jacob Elordi), Schrader bravely forsakes the narrative fastidiousness of his recent work and takes on grand themes of memory, mortality, and artistic self-reckoning, to formally ragged but sincerely moving effect.

12. “The Girl with the Needle”

This stark and terrifying black-and-white drama from the Swedish-born, Polish-based director Magnus von Horn (“Sweat”) was perhaps the competition’s bleakest entry. Set in Copenhagen immediately after the First World War, it pins us so mercilessly to the hard-bitten perspective of Karoline (an excellent Vic Carmen Sonne), a factory seamstress who becomes pregnant out of wedlock, that we scarcely notice her story shifting in a different, more sinister direction. It’s a bitterly hard-to-stomach brew of a movie, at once hideous and beautifully made, with a chilling supporting turn by Trine Dyrholm as a friend whose interventions turn out to be anything but benign.

13. “Three Kilometres to the End of the World”

The setting of this well-observed but emotionally opaque drama, from the Romanian actor turned director Emanuel Pârvu, is a small rural village where a closeted teen-age boy, Adi (Ciprian Chiujdea), is brutally beaten after being caught in an intimate moment with a male traveller. Pârvu teases out the legal, psychological, and moral fallout with the pitch-perfect performances and laserlike formal focus that have become hallmarks of new Romanian cinema. But, though the movie is persuasive enough as an indictment of small-town religious fundamentalism and homophobia, it proves curiously incurious about Adi’s perspective, to the detriment of its own human pulse.

14. “Kinds of Kindness”

After his Oscar-winning period romps “The Favourite” (2018) and “Poor Things” (2023), the Greek director Yorgos Lanthimos scales back—but goes long—with a sprawling, increasingly tedious compendium of comic cruelty. My favorite of the film’s three disconnected stories, all featuring the same actors, is the one where Jesse Plemons (the ensemble M.V.P., as the jury recognized with its Best Actor award) plays Willem Dafoe’s Manchurian candidate; my least favorite is the one where Emma Stone joins a sweat-worshipping sex cult. The one where Stone slices off her finger and cooks it for Plemons falls—much like the movie in Lanthimos’s over-all œuvre—somewhere in the middle. (A Searchlight Pictures release, opening June 21st in theatres.)

15. “Bird”

My admiration for the English filmmaker Andrea Arnold (“American Honey”) is such that I’m eager to revisit her latest rough-and-tumble coming-of-age story and find that I undervalued it. Arnold is certainly skilled at integrating recognizable actors, which in this case includes Barry Keoghan and Franz Rogowski, into her grottily realist frames, and she has an appealing lead performer in Nykiya Adams, as a twelve-year-old girl who overcomes persistent abuse and neglect. But the story may lose you—as it lost me—with a magical-realist turn that magnifies, rather than minimizes, the tortured-animal symbolism that has often dogged Arnold’s work.

16. “Beating Hearts”

An exchange of insults at a high-school bus stop provides a saucy meet-cute for a good girl (Mallory Wanecque) and a ne’er-do-well boy (Malik Frikah); so begins a raucous and endearing love story for the ages, in which the director Gilles Lellouche, with outsized glee and little discipline, merrily appropriates the conventions of classic Hollywood musicals and gangster flicks. The result is much too long at nearly three hours—the story spans several years, with Adèle Exarchopoulos and François Civil playing older versions of the two leads—but I can’t say I didn’t warm to its rambunctious cornball charm.

17. “Limonov: The Ballad”

Why make a film about Eduard Limonov, the globe-trotting Russian dissident poet and punk provocateur reviled for his pro-fascist sympathies? The filmmaker Kirill Serebrennikov never musters a satisfying answer in this muddled English-language bio-pic, despite an energetically uninhibited central performance by Ben Whishaw and a cheeky panoply of filmmaking techniques—jittery camerawork, lengthy tracking shots—meant to catch us up in the épater-la-bourgeoisie exuberance of Limonov’s revolt. Considering his earlier work, I prefer the rebel-youth vibes of “Leto” (2018) and the dazzling cinematic assaults of “Petrov’s Flu” (2021), both of which also screened in competition here.

18. “Parthenope”

Nearly every new picture from the Italian auteur Paolo Sorrentino could be reasonably called “The Great Beauty,” the title of his gorgeous 2013 cinematic tour of Rome. (It left that year’s Cannes empty-handed, but won the Oscar for Best Foreign Language Film.) His latest work remains most intriguing for its ambivalent but still sensually overpowering vision of the director’s home town, Naples, from which springs a modern-day goddess, named after Parthenope, a Siren from Greek mythology. She’s played by Celeste Dalla Porta, a great beauty indeed and an empathetic screen presence, though only fitfully does her character seem worthy of this movie’s epic enshrinement.

19. “Wild Diamond”

Another disquisition on beauty and its discontents, this time from the débuting French writer and director Agathe Riedinger. She hurls us the life and busy social-media feed of a nineteen-year-old, Liane (a terrific Malou Khebizi), who has nipped, tucked, and tailored every part of herself to realize her dream of being selected for a hot new reality-TV series. Part influencer-culture cautionary tale, part bad-girl Cinderella story, the movie glancingly suggests the soul-rotting effects of beauty worship, but it falls victim to the trap that Liane is trying to avoid: in a sea of worthy candidates, it doesn’t especially stand out.

20. “The Apprentice”

Donald Trump’s attorneys have threatened legal action to block the release of this drama about his early rise to fame and wealth under the mentorship of the attorney Roy Cohn (Jeremy Strong). It speaks to the useless proficiency of Ali Abbasi’s movie that the prospect of such censorship provokes more indifference than outrage. Shot to evoke cruddy nineteen-eighties VHS playback, the movie is well acted by Strong, Maria Bakalova as Ivana Trump, and an increasingly makeup-buried Sebastian Stan as Trump himself, depicted from the start as a sack of shit that gets progressively shittier. It’s not dismissible, but it’s hardly the stuff of revelation, either.

21. “Marcello Mio”

In this trifling meta-comedy from the French filmmaker Christophe Honoré (previously in the 2018 Cannes competition with the lovely “Sorry Angel”), the actress Chiara Mastroianni embarks on a strainedly whimsical personal odyssey to examine the legacy of her late father, the legendary Italian actor Marcello Mastroianni, and her own conflicted place therein. To that end, she spends much of this overstretched movie in “8½” and “La Dolce Vita” black-suited drag as she navigates a roundelay of industry in-jokes; among the French cinema luminaries making appearances are Fabrice Luchini, Nicole Garcia, and, most welcome, Chiara’s mother, Catherine Deneuve.

22. “The Most Precious of Cargoes”

The French director Michel Hazanavicius continues his uneven post-“The Artist” run with this animated Second World War fable, adapted from a 2019 novel by Jean-Claude Grumberg (and narrated by the late Jean-Louis Trintignant). It has an affecting opening stretch, in which a baby girl, thrown by her desperate father from an Auschwitz-bound train, is rescued and raised in secret by a woodcutter’s kindhearted wife. But when the child’s provenance is discovered, stoking local antisemitism, the movie becomes a bathetic wallow in Holocaust imagery, drowned in an Alexandre Desplat score whose every surge turned my heart increasingly to stone. ♦

[kiwifie]

art fight attack for shmeebdingyy!

including my own oc too because I thought frankenstein's monster and mad scientist ocs being besties would be SO cute

[girls-cry]

"the world is a horrible place, but we need to believe that it is not."

The girl with the needle (Magnus von Horn, 2024)

[supercalifragipopculturevomit]

Cinematography Spotlight: The Girl with the Needle (2024) Director: Magnus von Horn Cinematographer: Michał Dymek Starring: Vic Carmen Sonne, Trine Dyrholm, Besir Zeciri, Joachim Fjelstrup, Tessa Hoder, Avo Knox Martin

[kathleenkatmary]

My Favorite Foreign (Non-English Language) Films of 2024

(according to non-festival US releases)

06. Daaaaaali! (dir. Quentin Depieux)

My Letterboxd review for Daaaaaali! was something like "this is what people who have never seen a David Lynch movie think a David Lynch movie is like, only less dark". I still think that's true. And that's just perfect for a movie that's about, but also not at all about, legendary surrealist Salvador Dali. Multiple actors portray Dali at different ages, as he gives interviews for a documentary that's never completed. It's a twisty, surrealist dreamscape, where the man in question is multiple different ages all at once, where dream collapse in on dreams collapse in on dreams, where time loops in on itself, every strange moment seems to mean nothing and everything all at once. It's a wild ride, that captures the atmosphere of surrealism better than most things I've seen since Dali's own work on the dream sequences in Hitchcock's Spellbound.

05. The Seed of the Sacred Fig (dir. Mohammad Rasoulof)

There's no other word that can best describe The Seed of the Sacred Fig other than harrowing. And at 2 hours and 47 minutes it is a tough watch. But considering the things that people who made and acted in this movie are facing just for making it, I feel like the least we all ca do is watch the whole thing from beginning to end. The film uses the dynamics within an Iranian family during a time of mass protests and resistance as a mirror for the country itself, showing how quickly even a seemingly stable and loving family can devolve under the terrifying rule of theocratic leader who allows himself to be governed by paranoia, fear, and pride. It's a powerful piece of political filmmaking, but it also serves as a painful and tense family drama.

04. Kneecap (dir. Rich Peppiatt)

I think a lot of people outside of Britain think that, since the ceasefire in the late 1990s that issues the caused The Troubles have just gone away. But, as Kneecap demonstrates, there's still a lot of tension, particularly in Northern Ireland. And what a treat to have a film like this, that presents those tension in such an original and exhilarating way. Given how central their politics are to their identity as a group, it of course makes perfect sense that the fictionalized telling of their formation as a group is, above all, about those tension, about the importance of preserving the Irish culture in the area, and the ways the violence from decades past still haunts the people there. This was one of the most exciting films I watching from 2024, one of the most blatantly fun. Which I think it a real accomplishment, because it does also manage to be, in my opinion, a really moving love letter to their culture and heritage.

03. The Girl with the Needle (dir. Magnus von Horn)

I have a list of great movies I will never watch again because they made me feel so bad. It's a very short list. Until recently, it had only had two movies on it for the past almost 20 years: Amores perros and The Proposition. The Girl with the Needle recently joined that list. To be clear, that is not a criticism. I think that the film absolutely intends to make us feel bad, and it succeeds. This is a deeply upsetting movie about a woman who is left in limbo when her husband doesn't return from WWI, but is not on the list of the dead. Through a series of traumas she ends up living and working with a woman who has what she purports to be an underground adoption service for poor women. But it gets so much darker than that, with sequences that are genuinely stomach churning. This movie has a lot to say about women's agency and autonomy, but at its core it's really about perception, the ways we see people, the way people present themselves, how easily we can overlook or miss who people really are, and the things it can take for our perception of them to change.

02. I'm Still Here (dir. Walter Salles)

I'm Still Here is another devastating exploration of the ways a cruel government can shatter a family. Based on the true story of the Paiva family, whose husband and father Rubens was abducted by the Brazilian government, at that time a military dictatorship, in 1971. It's a moving portrait of what it can take to move through a loss, one already so painful, and with the grief made all the more unimaginable by the circumstances around it, the inability to get any kind of solid answers, and the fear that the military might still come after those left behind. It's a fantastically told story of a family trying to understand and survive, but the whole thing is truly held together by Fernanda Torres's powerhouse performance.

01. Red Rooms (dir. Pascal Plante)

More than any other film of 2024, Red Rooms feels like it not just understands, but lives in the knowledge of how ugly and evil the world can be. Every second of it feels like it's infused with the kind of dread that can only come from that kind of knowledge. It never shows the horrific acts at its center, but you can still feel them, their horror, in every frame of the movie. Which is appropriate, because this movie really is less about that evil itself and more about the way it touches everything, the way it can even be compelling in way, but how even just being compelled by it makes our souls darker just from the contact. Red Rooms really holds its cards close to its chest, never really letting us fully understand the character we spend the entire movie with, never fully grasping her intentions. But I almost think those intentions are secondary to the exploration of the the impact the darkness with which she engages has on her.

[imthefailedartist]

Twisters is the second movie, this year, where I feel like it was incomplete.

The movies are cueing up typical moments in the genre and then just not doing them.

They were supposed to kiss, right? That was a very "kiss the girl" coded moment.

I'm not crazy.

When they came to get her out of the car, I was like, wait, this feels like their ending the movie. They can't be ending this movie, not right now. I thought they were going to wrangle another one just to make sure. Also, no horse getting snatched up. Why am I at a rodeo to not see one of them rodeo animals spun round wild? Also, I thought twin twisters were going to be a bigger part of the plot.

Bring back the real lovers. I'm tired of stuff being romance coded to get romance fans in the door, and then the filmmakers snatch the rug out from under us going, "Haha. Bitch you thought".

And you "it's not about the romance. Not everything is about romance" jagoffs, butt out. This is not for you. They already made Twisters without romance, its called Into the Storm (2014). Watch it and stay away from me.

This movie is so heavily coded for romance that it feels like a slap in the face that they don't kiss. They even hint at (J or X)avi was in love with her at one point, too. What the hell is going on? You don't need to trick me into seeing your little movie. I was coming regardless, but now I'm not happy about it. You could've made this a colleagues only affair, and I would've been fine, but this was bullshit. Tyler does so much romance hero stuff.

Catch is, I wouldn't be so upset if this movie ended in the field immediately after the big tornado. Instead, this movie decides to put on a big show of Tyler being at the airport, Kate saying his catch phrase back to him. He makes the "whats she mean by that face" nails his truck to the ground and runs after her as Xjvai cheers for him. What the fuck was that for if they weren't going to kiss?!

You know they messed up because all the actors and director etc. On the press tour are doing the romance isn't the end of their story walk back. Like, yeah, no shit that's why you end it on her plane being grounded because a big storm's rolling through.

Don't piss me off.

Helen Hunt and Bill Paxton close your eyes.

The director saying the movie isn't political is laudable. Every five seconds, a character is saying tornadoes have only gotten bigger and more frequent in the last 20 years. Just because you don't call it climate change don't mean it ain't climate change.

I hated every needle drop in this movie. It was very Netflix reality show.

Also, the guy coming in to snatch up people's land seconds after a tragedy is a bad guy.

[aftercrimes]

THE GIRL WITH THE NEEDLE (2024) DIR. MAGNUS VON HORN

[thejewofkansas]

The Weekly Gravy #230

From Vurchel, where you can watch Make Me a Pizza for yourself. Make Me a Pizza (2024) – ***½ You know the set-up: a hungry woman orders a pizza. A strapping man delivers it. She doesn’t have any cash and suggests…alternative forms of payment. He protests, citing the value theory of labor. Yes, this short by Talia Shea Levin is a spin on the archetypal porno premise (has any porno actually…

[gebo4482]

THE GIRL WITH THE NEEDLE | Official Trailer | In Cinemas January 10

Dir: Magnus von Horn Star: Vic Carmen Sonne / Trine Dyrholm / Besir Zeciri

[moviesiveseenandwanttoremember]

Magnus von Horn’s “Pigen med nålen” (The Girl with the Needle) January 23, 2025.

[porquevi]

"A garota da agulha" (Pigen med nålen) - mubi.

Representante dinamarquês na premiação de filme internacional do Oscar. Perdeu para o nosso "Ainda Estou Aqui". Passou rápido nos cinemas e chegou logo no Mubi. Ser mulher, gravidez, trabalho ruim, sem dinheiro, tudo isso um século atrás.

depois de ver: filme pesadíssimo. pra acabar com a animação de qualquer carnaval. bruto, duro. as atuações de Vic Carmem Sonne e Trine Dyrholm são estupendas.

[chinchillasorchildren]

Films of 2024: The Girl with the Needle (dir. Magnus Von Horn)

(2.5/5)