Sentimental Value

Geez, where do I even start. We'll go with the cinematography. One thing I loved in particular is how Trier used the different aspects of nature and the world around 'them'. There were so many beautiful shots which I haven't seen in a film recently; they're like what you see when you wake up in the middle of the night, and you remember it so vividly and you can see it so well at the time, but when you're awake you're just left with how you felt before, and you can't see the image in your head. I really loved the use of the wind too. I loved it through all the window shots, and how it was almost used as a backdrop; like you know it's there and it sets the tone but you don't really watch how the trees move, you know? You just feel it. I especially liked the scene on the beach, it just seemed so peaceful and free. I also really liked how Trier used lots of natural lighting. It really felt like the film, if that makes sense. And it's not something that is really that profound in movies now. Another thing I'd like to cover is the house. The poem at the start really really set the mood better than I realized. The house breathes with emotion, and history, and it's almost like it has a memory, and whenever the characters walked through the house in the later years, it's like the house spoke to them, or provoked them, or just gave them a gentle reminder of what happened, like the house won't let them ever forget. It's like the house is engraved with memory (like the height marks on the door frame) and you can't dig it out. I also really loved the flashbacks. The tone of the camera, the slight grain that wasn't overexaggerated, the life in the children. Really feels like home footage, in a real home, and it really made me feel for Gustav. I never realized that he wasn't always cold, but he was a kid too. Speaking of Gustav, I loved his character so much and Stellan really did a great job. Ever since I first laid eyes on him, I could just sense what kind of a person he was. Gustav had so much aura, not in the way you probably think, but his character was always just radiating with that really stark feeling, and looking back on it it makes you quite upset. Gustav really portrayed everything the film was saying. The monster family issues, the loss of love. It sounds stupid but the whole film was just like a re-reading of that script, and the script was exactly what happened in their lives. It was like Gustav wanted a different actor than Nora so he could have another shot to re-live what he messed up; and so he could do what he always wanted, even if that was taking his own life. It's like he was desperately scratching and clawing for Nora and Agnes, but he already realized what happened happened. The only thing I would've loved to see in this film would be a score from Nick Drake, rip legend. I really loved hearing Labi at the end though. There's more I could go on about and I wouldn't be suprised if I come back to this review and tweak it a little, but this is just everything I can remember of what I was thinking about in the theatre. This review is not edited at all so I just may be talking out of my ass. p.s. I thought it was really funny when Gustav gave Erik a copy of The Piano Teacher. Also really pissed off I didn't take the poster before I saw it, whoever in Dunedin has this poster you better keep your distance (it was the really cool one where Renate and Stellan are standing in front of the leaves).