Joachim Trier’s new film holds up a mirror to a generation’s anxieties – and invites us to make art from life
, a moment of magic transpires. Julie, our irrepressible heroine, flicks on a light while working up the courage to end her relationship with Aksel, a 40-something graphic novelist. Time stops, and she runs outside into the city, weaving her way between frozen bystanders to a cafe where Eivind, her new love interest, works. It’s a stylistic flourish – like something out of a Michel Gondry movie – that most films would have saved for the starry-eyed finale.
How exactly to describe Trier’s film is part of its charm – it’s been described as an anti-rom-com, which in one sense it is, but then again, maybe not. Informed by the playful genre agnosticism of the French new wave –is an obvious touchstone – it’s instead the sort of freewheeling affair that lives in pure sensation, protesting like its protagonist a world where “everything we feel, we have to put into words. Sometimes I just want to feel things.
Above all, Julie is someone who is trying to live her life honestly. One major theme in the film is the things that we say to each other that are true, those that are false, and also the things that become kind of false through repetition. It’s about how we grow as humans, and Trier’s refusal to do away with the mess, his characters’ flaws and contradictions, is the whole point.
Whatever his flaws, Aksel sees Julie for what she is in many ways: later in the film, he tells her that she always runs “when things get tough”, a trait that is dramatised in her heart-stopping flight through the city. He means it as a criticism, but what if it’s really her superpower? To run wherever your intuition takes you. To make your life, like the scene where Julie winks at the camera after putting a frozen woman’s hand on her lover’s bottom, a work of art.
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