The Worst Person in the World

The Worst Person in the World carries a shimmery feeling of definitiveness to it. It’s the rare piece of art actually invested in why an entire generation can seem so aimless and indecisive.

Unsentimental, brutally honest, and staggeringly complex in its execution, intelligent cinema like this is a rarity.

Worst has no shortage of gorgeous-people problems — more than enough, in fact, to fill 12 cinematic "chapters" — but it vibrates with real life, a film so fresh and untethered to rom-com cliché it might actually reshape the idea of what movies like this can be.

The Worst Person in the World acts as a forceful reminder that the entanglements between women and the love interests dancing in and out of their lives matter less than the lifelong relationship we must maintain with ourselves.

For all of Trier’s stylistic flair, the best scenes in The Worst Person In The World are unadorned conversations, little pockets of chemistry or conflict. The film peaks with a self-contained romantic episode, beautifully written and performed

Though the film tries for ironic detachment – twelve chapters with a prologue and epilogue – it ultimately can’t wink away its own heartfelt compassion and sympathy, even as it refuses to provide any trite solutions.

The movie offers no details about any conflict between domestic and artistic life—because Trier and his co-screenwriter, Eskil Vogt, display no interest in Julie’s artistic development or activity. The Worst Person in the World is driven by a relentless focus on Julie’s personal life, but it’s a focus that remains obliviously impersonal.

A comedy full of nordic irony, just the way I like it. Trier offers us a light-hearted vision of life as a couple which then turns into a profound reflection on what it means to be mature and make important decisions. A comedy that is almost a tribute to Woody Allen, with a wonderful direction and cinematography. This movie is an alternation of cold and hot vibrations. I had found the previous films of this Norwegian director interesting, but this is really his best one.

admirable [ ad-mer-uh-buhl ] adjective worthy of admiration; inspiring approval, reverence, or affection.

Basically it's only a story about some people having the normal troubles of life. Many mimimi-Scenes. I think the movie is successful because many people can relate to some situations.

(Mauro Lanari) If there are 3 levels of phenomenic analysis, the generational, the epochal and the historical, Joachim Trier stops at the 1st one: an accurate description of the existence of millennials and their way of dealing with sex and feelings between births and deceases, pregnancies and terminal agonies. Or perhaps of their way of not facing, if they consider themselves powerless spectators who are just allowed to photograph the reality judged to be immutable. Too many things are left in the background and the most important ones: the comparison with the parental generation, the relationship with the spirit of the time that transversally involves everyone (even if it is those who grew up in that precise period who symptomatize it better), the relevance of the novelties with respect to the constants of History. Obstacles that have undermined the cinematography of who knows how many authors, from Rohmer to Allen to the exponents of mumblecore. Sometimes there is an immediate evidence of this lìmit, sometimes instead years of decantation are necessary and only with a significant chronological distance one understands whether if and how much a work still has something to say to those who come after.

Ужасный, скучный, бестолковый и самое обидное что фильм просто ни о чем. просто пустая трата времени. нет никакой линии, фильм ни о чем не рассказывает, не повествует, нет никаких переживаний, интриги, режиссер потратил время зря.