User Reviews

Joachim Trier’s Sentimental Value is a profound meditation on fractured family dynamics, premiering at the 2025 Cannes Film Festival where it claimed the Grand Prix award. Co-written by Trier and Eskil Vogt, the film orchestrates a reunion between estranged siblings Nora and Agnes with their father Gustav, setting this intimate drama within the confines of a decaying family estate. The production has garnered significant international recognition, securing nominations at the 83rd Golden Globe Awards and the 98th Academy Awards, with Stellan Skarsgård winning Best Supporting Actor at the Golden Globes. The film’s architectural approach to representing internal family ruptures through physical space and symbolic detail has been praised by many including myself. Something which has inspired me to write and share among film lovers of the world of **** narrative structure unfolds around a generational house that serves as far more than mere setting. Opening with a panoramic cemetery view before establishing the family residence, Trier invites viewers into a world where environmental decay mirrors emotional deterioration. The visible cracks and fissures in the structure function as visual manifestations of the broken relationships within its walls. This mise-en-scène recalls Shakespearean tragedy, particularly echoing the dynastic collapse in King Lear, where architectural and familial integrity intertwine. The house becomes a character unto itself, its deterioration inseparable from the psychological states of those inhabiting it .King Lear’s storm scene is rendered a modern outlook as well in the climax of the movie we are discussing. Both the fathers are seen to be tormented by the idea of their personal decisions that somehow were mistakes in their own eyes. In the present film, the father lands up in the hospital at the moment when Nora realizes that she is the central character of her father’s new movie and her suicide attempt was clearly portrayed in the project. At the film’s emotional core lie two sisters whose relationships with their father diverge dramatically. Agnes demonstrates greater attachment and receptivity toward Gustav, while Nora exhibits protective emotional distance. Nora’s refusal to perform in her father’s film project represents more than simple career hesitation; it symbolizes her resistance to collusion in her father’s artistic endeavors and a rejection of superficial reconciliation. This dynamic introduces ethical complexity absent from conventional family dramas. Rather than presenting her withdrawal as merely defensive pathology, the film suggests Nora’s emotional guardedness as a legitimate response to years of household instability. Her childhood insomnia induced by constant parental conflict becomes a somatic manifestation of psychological **** pillow emerges as a particularly potent symbol throughout the film. As Nora’s childhood refuge, it represents both comfort and resistance, muffling the sounds of household turbulence. This humble object encapsulates her survival strategy, creating barriers against emotional intrusion while desperately seeking rest and peace. Such symbolic economy reflects Trier’s directorial sophistication, where every element carries thematic weight. The pillow functions as what film theorists might term a “transitional object,” representing the psychological boundary between intolerable reality and necessary illusion .Another powerful symbol highlighted in the movie is the story of the Footstool. The father refers to the footstool as the device that was used in a family suicide long ago. The symbol repeats itself at the end of the movie when Nora watches it pensively when Erik leaves the room. Literary Resonances and Artistic AspirationCentral to understanding Sentimental Value’s thematic architecture is its deployment of Anton Chekhov’s The Seagull (1896). Within the film, Nora attempts to recite lines from the play, specifically from the character Nina. We can recall that Chekhov’s work explores unrequited love, the tormented pursuit of artistic recognition, and the devastating consequences of disillusionment . The play depicts characters ensnared in cycles of envy, disappointment, and failed ambitions, perpetually confronting the chasm between their romanticized aspirations and mundane **** parallels between The Seagull and Trier’s film are striking and intentional. Both works examine how artistic ambition can corrode familial bonds, how romantic ideals collapse beneath life’s pressures, and how individuals become trapped repeating destructive patterns. Gustav’s character is a filmmaker presumably pursuing artistic vision and it mirrors the narcissistic self-absorption found throughout Chekhov’s dramatic universe. The father figure’s demand that his daughter participate in his creative project echoes the play’s exploration of how artistic pursuits often demand personal sacrifice from those closest to their practitioners.

(Mauro Lanari) In a toxic concoction between "The (indecently) Discreet Charm of the Bourgeoisie" (Buñuel '72) and "A (Dysfunctional) Family Group in an Interior" (Visconti '74), Bergmanisms (plus Ibsen, Strindberg, Allen, Zemeckis, Haneke, and blah blah blah) galore even in 2025 and, once again, "art will save the world." Relational troubles healed through sublimated, redemptive, reconciliatory catharsis by the Ivan Karamazov of the cinematic, theatrical, televisual, and Netflixian meta-level: a whopper now only told on red carpets, this time those of Cannes and the Academy. The morphing of the protagonists' faces, all tormented by very narratable traumas (successful or attempted suicides), is beautiful; after that, emotion arrives merely by contagion through the weeping of at least one of them.

If Hollywood keeps making movies like this they will go bankrupt. Not watching. Not explaining. Not apologizing.

Drowning in Depth: Why Sentimental Value Impressed Me More Than It Moved Me I have very mixed feelings about Sentimental **** one hand, it is clearly a serious, ambitious and deeply artistic film. Joachim Trier is not trying to make something light or easily digestible here. The film deals with family, memory, art, performance, emotional inheritance and the strange way cinema can become a tool for processing pain. That is also why I am not surprised it has been so highly praised at festivals. It premiered at Cannes, won the Grand Prix, and has been widely celebrated for its performances and emotional **** that is also where my problem with the film begins.From the very start, Sentimental Value feels like it wants to be deep. And to be fair, it is deep. The issue is that it stays in that same heavy emotional register almost the entire time. A great film, like a great song, often knows how to take you in and out. It has highs and lows. It lets you breathe, then pulls you back under. This film throws you into the deep end immediately — and then somehow the pool becomes an ocean, and the ocean just keeps getting deeper.That can be powerful. But it can also become **** me, the film sometimes felt more like an artistic exercise than an emotionally natural experience. It is a meta-film — a film about making a film — and I understand why that kind of structure appeals to critics, film festivals and people who love cinema as an art form. But I am less convinced that it lands with the same force for an average viewer. Not because the average viewer is stupid — that would be a lazy argument — but because emotional depth alone is not enough. A film still has to carry **** strongest part of Sentimental Value is without question the acting. The performances are phenomenal. Renate Reinsve, Stellan Skarsgård and the rest of the cast deliver the kind of restrained, layered acting that can easily win major awards. The film is about theatre, cinema and performance, and there is something almost fitting about how much it relies on actors who can hold silence, discomfort and emotional tension without overplaying it. The acting skill on display is genuinely **** soundtrack also works well. It adds weight to the scenes and helps deepen the emotional atmosphere without feeling cheap or manipulative. The plot itself is strong too, especially in the way it uses foreshadowing and emotional clues. You can feel that the film is carefully constructed, and because it presents itself as an artistic journey from the beginning, you naturally become more alert to symbols, echoes and hidden **** the pacing is where the film loses **** beginning works. The ending works. But the middle — especially the second quarter — feels drawn out. At times I was confused about where the story was going, and not in an intriguing way. More in the sense that the film seemed to linger without giving enough movement back. Since much of the film takes place with the same characters, in the same emotional spaces, and often in similar locations, it starts to feel static.Honestly, I was bored for long stretches.That sounds brutal, but it is true. I could feel my eyes getting heavier as the film went on, and I was not the only one. In the cinema, I noticed people adjusting their reclining seats back up, almost as if they were trying not to fall asleep. That says something. A film can be artistic, intelligent and well-acted — and still be tiring to sit through.I also struggled with the scene transitions. They often felt abrupt, maybe deliberately so. Perhaps Trier wanted to create a dramatic, fragmented rhythm that mirrors the emotional fractures in the story. But for me, it hurt the natural flow of the film. Instead of pulling me deeper in, it sometimes pushed me **** my final feeling is conflicted.Sentimental Value is not a bad film. Calling it bad would be lazy and unfair. It is too well-acted, too carefully made and too thematically rich for that. But I also do not think greatness should be confused with heaviness. The film has depth, yes, but it sometimes lacks modulation. It is emotionally intelligent, but also emotionally exhausting. It is beautifully performed, but not always beautifully paced.I understand why critics love it. I understand why festivals reward it. I even understand why some people will find it **** for me, Sentimental Value was a film I respected more than I enjoyed. It is powerful in parts, impressive in craft, and carried by extraordinary performances — but it also left me feeling distant, tired and slightly outside the emotional experience it was trying so hard to create.

Watched across three late-night sittings — probably robbed it of some emotional jolt. Enjoyed it nonetheless. Art no doubt has the power to communicate what we are either unwilling or unable to communicate more directly.

This film is an actor's showcase and revolves around a dysfunctional family that bonds through filmmaking, acting and theatre, but not much else.

I'm a fan of the Scandinavian style in general, but there's a difference between 'understated' and 'not saying anything at all.' While the actors did what they could with what they had to work with, I found the film to be superficial. Despite the small cast, you hardly get to know any of the characters, and several elements, such as having a narrator or the use of CGI or the script which is supposedly so amazing, are barely touched upon and then discarded. And the 'happy ending' to me felt quite hollow.

Sentimental Value is a touching family drama told with an abundance of sympathy and compassion for its anguished characters. Accordingly, it’s an acting showcase for the four co-leads who keep their characters grounded and relatable. Decidedly unsentimental, the film provides unfiltered insight on why we torture ourselves with the past. Recommended. detroitcineaste

It's at most a fragmented film exploring family member's detachment, alienation, friction through history, generations and one another. The film doesn't connect well and leaves lots of holes that need the audience to connect the dots. While it does arouse sentiments on audience, it leaves raw darkness on watchers as well.

A solid, if understated mood piece on addressing and eventually coming to terms with decades of generational trauma, "Sentimenal Value" finds Joachim Trier pawing at some heart strings here and there, but the melodrama's not ultimately why we're doing all this. This is more of a thematic meditation than it is a histrionic display of any kind. Just so happens that I'm more partial to my Capra-esque displays of emotionality from time to time lol so this one maybe wasn't as impactful as it could've been for me personally. Now, one thing that's unquestionably sharp is the acting, with Renate Reinsve and Inga Ibsdotter Lilleaas's performances representing my favorite contributions in that regard, but that's not to say Stellan Skarsgård and Elle Fanning don't bring their A-game here either, with Skarsgård very likely capping off his illustrious career with an Academy Award for Best Supporting Actor here. Still, this is more of an awards contender that I appreciate rather than adore. Not to say I regret the watch, though.

第一次看的时候，看到一半实在看不下去了。但本片进了奥提，还是要看完的。 和《火车梦》一样，都是看不下去分了两次看完的，但火车梦的摄影至少还是看的人一本满足，并且对一个人一生娓娓道来的叙述还是很唯美的。本片我是真的欣赏不来，可能还是缺少生活阅历吧……

A prime example of Scandinavian reserve. The emotions are held so in check that when they do come out, it’s like a bomb going off. All the performances are top-notch; in particular, Renate Reinsve’s face is a palette of a thousand colors. I could watch her all day. One of the most effective endings of any movie I’ve ever seen.

Oscar bait for sure, this drama shows Skarsgard acting in his native language. Great performances from the rest of the cast (hence, the plethora of Oscars it received). Worth a watch but it's obvously a filler 'nominee'.

I didn’t like the film very much; I found it overly artsy and boring. I fell asleep several times. I think the film doesn’t communicate well with a more diverse audience.

Absolutely loved this movie about distance and reconciliation. Intimately filmsed, small cast, wirh excellent performances,

8.5/10 From the director of "The Worst Person in The World", also starring Renate Reinsve, which i'm not a huge fan of that film story-wise, i've always loved Joachim Trier's filmmaking and cinematography, thankfully, this time, though, Trier gets almost everything right for me. Sentimental Value tells a fascinating story about the depth of a family conflict, one that also revolves around the process of making a film, Stellan Skarsgård plays a movie director and deeply flawed father figure, and he's an incredibly compelling character, especially in how his professional life mirrors his personal failures, his relationship with his two daughters, portrayed beautifully by Renate Reinsve and Inga Ibsdotter Lilleaas, forms the emotional core of the film. The addition of Elle Fanning is another strong choice, her presence somehow strengthens the entire family conflict, even though she's not heavily or directly involved, either physically or through extended dialogue, it's subtle, but it works remarkably well. Overall, the film is an intriguing and deeply engaging experience, driven by great performance and thoughtful storytelling, if there's one thing holding me back from giving it a full 100%, it's that i wish the emotional impact hit a bit harder, and the runtime felt just slightly too long, still, Sentimental Value stands as one of the year's most delightful narrative film experiences for me.

High quality script and acting. It works on many levels, particularly between reality and stage performance. Excellent performance from all actors especially Stellan Skarsgard, who plays a talented but obsessive film director, who seems to see life as a movie and his home as a movie set. He says, ‘an artist needs liberty’ and he is ‘used to control’. However, what does that mean for his wife and daughters? The film director seemed to be in the family house, but not there as a husband or father. When his ex-wife dies, he writes a script in an attempt to finally create a family life and family home for his grown-up daughters, and bring peace.

Sentimental Value's strong emotional core and moving performances make up for the moments where the narrative slows or drags at certain points. Might've worked well as a stage play, ironically.

The complexity of directing films and re-establishing family ties, both of which are explored in a drama that takes its time to unfold, doing so with neatness and excellence. One of the most talked-about films of 2025, and rightly so.

Realmente ficou difícil para "O agente secreto" (ainda vou torcer para o Brasil, claro), mas esse aqui é lindo demais, com a família em busca de (re)encontros e uma casa que emana ser ela própria um personagem. A cena final é linda, mostrando a delicadeza de como os detalhes podem nos salvar ou nos afundar. Belíssimo.

‘Sentimental Value’ opens with a family retrospective, the main focus being their lifelong home—containing the objects that give the film its title—which has a significant flaw in its foundation. A large crack is visible inside. While there may not be a threat of the structure splitting in two, it's impossible not to notice that something is wrong. From this premise, Joachim Trier and co-writer Eskil Vogt ironically construct their first masterpiece. Through a profound study of a family fractured by resentment and abandonment, these filmmakers give us one of the most moving films of the year, exploring cinema itself as a way of understanding and communication between human beings. The art of working with pain; the pain of making art. It’s, without a doubt, 2025’s best movie.

After its highly acclaimed screening at the Cannes Film Festival, Sentimental Value quickly became cited by many as one of the great films of 2025. Joachim Trier's new work represents a clear advance in his filmography, both in the way he conducts the story and in the emotional ambition of the project. Here, the Norwegian director broadens his gaze beyond traditional family conflicts and proposes something more sensitive: a reflection on how art can serve as a bridge between people who are unable to communicate directly.This evolution is also reflected in the cast. Trier brings together big names such as Stellan Skarsgård, Inga Ibsdotter Lilleaas, Elle Fanning, and his recurring partner, Renate Reinsve, creating a ensemble that strongly sustains the emotional tone of the film. Sentimental Value is, above all, a deeply human drama that finds beauty in the delicacy of gestures, in silences, and in the difficulty of expressing feelings that have been kept hidden for years. It is one of the most moving films of the year and, without exaggeration, one of the best of 2025. Sentimental Value reaffirms Joachim Trier as one of the great names in contemporary cinema and once again puts Norwegian cinema in the spotlight. With a sensitive script, impeccable performances, and an honest approach to family, art, and communication, the film stands out as one of the highlights of the year and a strong contender for international recognition. For Brazilian audiences, there is regret over the fierce competition in the international film category, especially in a year that also features The Secret Agent. Still, The Killing of a Sacred Deer remains a powerful portrait of art not only as a profession or market, but as a form of expression, connection, and, perhaps, healing.

A little more, I’m not quite there yet. From its very first sequences, 'Sentimental Value' makes its intentions clear. The seemingly “home-video” visual format, which constantly reminds me of the aesthetic of 'Nymphomaniac'—a comparison made purely on a formal level—signals that I am about to watch an intimate drama driven by conflicted human relationships. I was not mistaken. Its core revolves around complex interpersonal bonds, unhealed emotional wounds, replacement, and unresolved resentment. All of this ultimately leads me to a single allegorical term: “daddy issues”. Everything, however, is observed through a sober and restrained lens. The cast, despite featuring recognizable names, fails to fully convince me or leave a lasting impression. Renate Reinsve is the clear exception, carrying such naturalism and emotional weight that she rises above everyone else, at times even blurring the line between character and performer. Where my main issue lies is with the pacing. There are no evident mistakes, nor flawed editorial decisions; nevertheless, the tempo and repetition generate a sense of heaviness and, at times, fatigue. As the film progresses, my disengagement grows and the narrative becomes increasingly predictable. I insist that this is, objectively, a good film. It is sensitive, reflective, and ultimately conciliatory. It possesses a clear beauty and artistic intent. Yet, on a personal level, I struggle to fully connect with it. Minimalism can suffocate art, and that is clearly the case here. Although I am generally in favor of slow, deliberate pacing, it does not always sit well with me.

somehow the trauma rings hollow, is it the bourgeois setting or the paper thin characters,we never really know if it's intergenerational or they are just difficult people

Certainly thought the performances were stellar. Not sure if specific experiences are necessary to appreciate the plot, I found it entertaining but not quite engaging.

[SPOILER ALERT: This review contains spoilers.]

Trier knows exactly which dots not to connect. ‘Sentimental Value’ leaves itself open for contemplation without ever feeling willfully withholding.

Stellan Skarsgård plays a renowned cinema director who reunites with his daughters after years of estrangement (Inga Ibsdotter Lilleaas & Renate Reinsve). He has one final project and wants their participation. Toss in an American actor (Elle Fanning) who complicates things. This isn’t really about his film, but about the complex family dynamics that are explored. Writer/director Joachim Trier gets strong work out of his cast, even though it’s in typical Scandinavian style with nuanced reactions and reserved emotions. As I described it in his last film, “The Worst Person in the World,” (my review) “The performances are subtle, but effective…offering unsentimental and honest examinations of their relationships.” This European export will appeal to those who appreciate this type of underplayed, quietly probing drama.

When a film has the capacity to provide a template for overcoming domestic discord, promoting forgiveness and helping to heal one’s past, it’s to be truly commended for going beyond being mere entertainment or even an admired artform. It aspires to become a noble, laudable cinematic godsend, one verging on providing a valuable service to those requiring much-needed guidance and direction in their lives. At the risk of exaggeration, such is the case with the latest offering from writer-director Joachim Trier, arguably the best work of his storied career. When aging, esteemed Scandinavian filmmaker Gustav Borg (Stellan Skarsgård) unexpectedly reconnects with the family from which he has long been estranged, his two adult daughters, Nora (Renate Reinsve) and Agnes (Inga Ibsdotter Lilleaas), are baffled by his sudden reentry into their lives. After years of conflict and incessant arguing with his wife, Gustav departed without warning, leaving his now-recently deceased spouse to raise their two daughters on her own. Despite the challenges associated with such circumstances, Nora would go on to become a successful, if troubled and lonely, stage actress, while Agnes went on to live a comparatively stable life as a wife and mother. Gustav, meanwhile, launched into a noteworthy filmmaking career, though, due to the onset of failing health and problem drinking, he hasn’t worked on a new project for some time. However, with his re-emergence into his daughters’ lives, he now hopes to change that – by making a movie that he views as a legacy production, a less-than-veiled autobiographical piece that he claims to have written for Nora and for which he would like her to play the lead. But, given the longstanding bitterness between Nora and her father, she turns him down, a major setback for his plans to proceed – that is, until Gustav meets a young American rising star, Rachel Kemp (Elle Fanning), to whom he offers the part. The director’s casting choice, in turn, unleashes a barrage of new emotional turmoil, some of which involves rehashing the past and other parts of which uncover new, previously concealed issues involving both Gustav and his daughters, as well as family members from his own past. At the same time, taking on the role of Gustav’s protagonist pushes Rachel to examine her role in this complex scenario, both for the development of her own career as an actress and how she fits into what is clearly a metaphorical vehicle for sorting out Borg family drama. As challenging as all of this can be for everyone involved, however, it also provides the players with an opportunity for healing, personal and professional growth, and a fresh start for the future. The question is, can they rise to the occasion? Filmmaker Trier thus embarks on a rather involved storyline (sometimes a little too involved for its own good), but the narrative nevertheless eagerly takes on the ambitious task of intertwining various aspects of art and life and how one might be drawn upon to address the challenges and opportunities of the other. While the picture might potentially be seen as a little overlong, the director manages to successfully cover considerable ground without belaboring his material or incorporating extraneous elements. Moreover, the deftly penned screenplay effectively keeps the picture from becoming too heavy-handed through the inclusion of strategically placed comic relief, including several delightfully witty nudges at a well-known Scandinavian furniture retailer. These assets are further enhanced by this release’s gorgeous, creative cinematography and the superb performances of its fine cast, particularly Reinsve, Skarsgård and Fanning, all of whom turn in decidedly award-worthy portrayals representing some of the best work of their respective careers. As the winner of the Grand Prize of the 2025 Cannes Film Festival and a nominee for the event’s Palme d’Or (the festival’s highest honor), “Sentimental Value” is yet another standout effort from this gifted Norwegian filmmaker, one very much in the same vein as – if not, arguably, even better than – his eminently praiseworthy previous offering, “The Worst Person in the World” (“Verdens verste menneske”) (2021). Keep an eye on this one as movie awards season unfolds.

Astonishing achievement from every standpoint of filmmaking. Characters are well written and have good development, writing and directing reminds me of Bergman.

"Sentimental Value" is a wise, tender and genuinely heartfelt portrait of a dysfunctional family. Joachim Trier creates a work of art that lingers, not because of what he shows us on screen, but because of the thoughts it stirs about our own families, our failings, and the quiet beauty of trying to heal. Two sisters reunite with their charismatic but absent father, as art and past wounds collide in a film about healing, memory, and forgiveness in this poignant family drama. After the death of their mother, estranged sisters Nora (Renate Reinsve) and Agnes Borg (Inga Ibsdotter Lilleaas) are unexpectedly reunited with their father, Gustav (Stellan Skarsgård), a charismatic and once-renowned film director. Hoping to stage both a cinematic and familial comeback, Gustav offers Nora, a gifted but emotionally volatile stage actress, the lead role in his new film. When Nora refuses, he swiftly recasts her with rising Hollywood star Rachel Kemp, setting off a quiet storm of tension, betrayal, and buried resentment. With Rachel inserted into the fractured dynamic, the sisters must confront a lifetime of unresolved pain and the complicated legacy of the father who abandoned them. Written by Joachim Trier and longtime collaborator Eskil Vogt, "Sentimental Value" marks a poignant return for Trier, reuniting him with Renate Reinsve following their celebrated work on The Worst Person in the World. The film also stars Inga Ibsdotter Lilleaas, Stellan Skarsgård, and Elle Fanning in a cross-cultural ensemble that is both emotionally rich and beautifully restrained. The family dynamic at the heart of the film is so intricately drawn and painfully authentic that it almost feels too real. Reinsve delivers a career-best performance as Nora, navigating rage, regret, and vulnerability with stunning control. Skarsgård is equally compelling as Gustav, effortlessly blending charm and narcissism into a character that’s hard to forgive but impossible to ignore. Lilleaas brings quiet strength to Agnes, whose more subdued pain adds a crucial counterpoint to her sister’s volatility. Some of the others actors is this are very underrated with Anders Danielsen Lie who was in "The Worst Person in the World" with Renate Reinsve playing Jakob, Nora's colleague and fellow actors on stage that she's in a romantic relationship with despite him being married and not happy with his home life. That actor could've been played any actor but because we're so familiar seeing him with Reinsve it makes the audience want them to be together and when he says he can't even after he's gets a divorce from his wife it leaves a lasting impact on you. Also great performances from Andreas Stoltenberg Granerud as Even Pettersen, Agnes' husband and young actor Øyvind Hesjedal Loven as Erik, Agnes and Even's nine-year old son who has such a great relationship with his Auntie Nora who really cares for him. Jesper Christensen who is best for his role as "Mr. White" in Daniel Craig's James Bond series ("Casino Royale," "Quantum of Solace" and "Spectre") is really brilliant as Gustav's producer Michael, who is discussing and planning him movie with him and has great rapport with him throughout. Even for those unfamiliar with this kind of familial trauma, the performances invite deep empathy. Each actor inhabits their role with such conviction that the emotional complexity of their relationships feels entirely natural, even in their most uncomfortable moments. Trier’s storytelling exists in a carefully constructed duality: a film about making a film, past versus present, nature versus nurture. He explores how two sisters, raised in the same fractured home, can emerge with such vastly different wounds. Where many films stumble in their meta-narratives, Trier maintains a sharp and accessible structure. The film-within-a-film concept is handled with clarity, especially in Nora’s staged performances, which are thoughtfully placed and never confusing. The nonlinear timeline is introduced early and handled deftly, serving the emotional rhythm of the story rather than distracting from it. As its title suggests, "Sentimental Value" leans into emotion, but never cheaply. Trier guides us through a raw and intimate journey of reconciliation, self-examination, and quiet growth. It’s a story about what we inherit not just from our families, but from the stories we tell ourselves about who we are. By the end, each character, and perhaps each viewer, has softened slightly.