Sentimental Value

One aspect of this movie that I feel is underrated, or at least should be talked about more, is the mention of the Holocaust and the impact that it has on the family extending all the way from Karin to Erik.  I think very rarely, due to, in part, my American high school education, do I think about the role that Scandinavian countries played in WW2. So much focus on placed on the US, UK, USSR, and the Axis powers. But there were so many people that were affected by the Nazi regime. Seeing those images and hearing those descriptions of what Karin went through, and I’m sure many real victims suffered through too, really puts into perspective how recent these tragedies were. Karin is only Nora and Agnes’ grandmother. 2 generations away.  I don’t think that I, or anyone my age, will ever truly know just how bad the Holocaust was. Every single time I learn some new awful thing the Nazis did, it is 10x worse than the last thing I learned.  Setting this stage about Karin and the trauma she went through is really important for understanding not only Gustav, but Nora and the relationship between the two. When I first saw this film, I thought a lot about place making, and I think I’m still doing it on this rewatch. The history of the people and their memories and their legacies is more important than four walls. You don’t need a specific space to create a place. And I think that’s very evident with the ending and the connection that’s present between not only Nora and Gustav, but also Erik, and extending that connection and that family history one more generation. They don’t need the house to tell the story. They really only need their relationship and the connection and love between them.  ———————————— Reinsve’s delivery of “did you tell dad about my suicide attempt” is truly a gut punch that knocked the wind out of me both times I’ve seen this movie. And Ibsdotter Illeaas’ “I had you” somehow knocked the wind out of me that I didn’t even know was still there. Absolutely my favorite scene in the film by far. Just an overwhelming cascade of sadness and catharsis and love.  ————————— I was more tapped into Elle Fannings performance this time and to be quite honest, it’s insanely load bearing. And I know I’m very late to this revelation. But the fact that she is a second choice, that she’s not Norwegian, is very integral to how she interacts with Gustav (and Agnes and Nora) throughout the film.  Gustav can’t get what he needs out of Rachel Kemp, and so he wants to shoot in the house. He feels like in order to hone in on the emotion that he wants, he needs to do it in a place that, in his view, epitomizes that emotion. But once Rachel drops out and Nora takes on the project, Gustav doesn’t need the house anymore. Because Nora is the house. This really goes back to the idea of placemaking. Nora holds all of the memories, trauma, and history that inhabit the house. All of the things that make the house a special place also make Nora who she is.  That fuckin’ stove, too. God damnit, man.