A Pior Pessoa do Mundo

À primeira vista, é apenas mais um filme de relacionamento e conversação com uma conclusão como um iogurte cliché de Hollywood. Mas a primeira coisa que pensei na manhã seguinte ao acordar, e muito intensamente como se os conhecesse pessoalmente, foi NELE e NELA. E na história que eles se deram um ao outro. A cena do pôr do sol ainda me dói até hoje. Quando foi a última vez que vimos um filme de parceria tão apto e sincero? Joachim Trier é um psicólogo perspicaz, com um sentido único de desenho fino de personagens, que também consegue temperar com ideias lindas de fazer filmes - a paragem do tempo no momento de se apaixonar, ou a representação animada de um trip de cogumelos mágicos afetado pelo peso dos pensamentos atuais da vida. A excelente dupla de atores de Renate Reinsve e Anders Danielsen Lie. (17/03/2022)

There's no question that The Worst Person in the World has cinematic value. At certain parts, I even felt like I was watching something so amazing that I wasn’t even sure I could fully grasp it in the moment. The deft use of music, sound, and silence was just perfect. So was the cinematography and the visuals of the film. Some of the conversations, the moments – my God – are so incredibly good and pleasantly uninhibited. The choice of actors fantastically complements the visuals I mentioned. And yet there were so many times I was wishing it was over already. I wish the chapters had gone by faster, and that they would never lose their original freshness. So they wouldn't sink into suffocation. I was literally craving even the smallest joke so I could drop the weight from my shoulders for a bit. A film in which I can see fragments of genius, but also feel an almost torturous lack of comprehension. (09/04/2022)

An interesting, skillfully made attempt at a generational film, the acceptance or rejection of which largely depends on whether you are, or consider yourself to be, part of the generation that is the subject of the director's interest. Speaking of Joachim Trier, it is of course speculation on my part, but I would bet that he put a large part of himself into the character Axel. The unfortunate Axel is the character that I relate to the most in terms of age and life attitudes, and he is also the most sympathetic character. I consider his media battle with the assertive feminist to be the most entertaining and intellectually valuable moment of the film. The pleasant Renate Reinsve plays (for me) an unpleasant Julia because she is scattered and emotionally unstable, constantly searching for herself until the final credits. She represents a growing group of people who delay important life decisions for as long as possible, mainly because life on the increasingly economically suffocating but still damn rich West seems to offer (seemingly) endless opportunities and risk-free experimentation. Few people realize that this world and the life strategies that stem from it are irreversibly ending due to the ecological crisis and the unprecedentedly rapid transfer of wealth to emerging East Asia. The variety of topics that Joachim Trier presents in his film gives every viewer a chance to find "their own thing" among them. Overall impression: 75%. (05/09/2021)

Apesar do seu nome, A Pior Pessoa do Mundo é um drama romântico bondoso e conciliador sobre a procura dos caminhos da vida, de si mesmo e de tudo à volta disso. E apesar de estar inicialmente preocupado com a duração do filme, aquelas duas horas com personagens simpáticos afinal foram muito bem passadas, embora eu gostasse que a conclusão de toda a história me tivesse emocionado muito mais. [KVIFF 2021] (14/09/2021)

O filme com um prólogo, doze capítulos e um epílogo da vida de Julia de quase trinta anos, que procura o seu lugar na vida e tenta reconciliar-se consigo mesma, com as suas emoções e com as suas relações. Uma tentativa relativamente bem sucedida de uma declaração geracional, que, ao mesmo tempo, tenta abordar vários outros temas sérios, cativa com a sua direção eletrizante e humor simpático, para além das atuações naturais dos três personagens principais. O diálogo, inteligentemente escrito, por vezes é um pouco exagerado na inteligência, e a narrativa desfaz-se um pouco, não só devido à divisão em capítulos, mas também devido ao fluxo exagerado entre os temas, especialmente no final. Em resultado disso, o filme é mais forte em alguns elementos e partes muito poderosas e expressivas, tais como a que contém o brilho inocente no limite da infidelidade numa festa, a que contém a experiência de um dia com o amor da vida numa cidade temporariamente parada, ou a que contém o estado drogado de cogumelos. A comoção pretendida no final não acontece, e duas horas podem ser demasiadas devido ao ritmo lento do desvanecimento, mas ainda é tempo bem gasto e recompensador. (28/08/2021)

Considering how Aerofilms is cramming this film through every orifice (I've seen its trailer a good fifteen times) and is clearly trying to patch up two years of COVID losses with it, I automatically went to see it already in an oppositional mindset. And thus began our fantastic mutual war that lasted until the very end. One of my first attacks was the accusation that it’s all well and good to build up an independent and idiosyncratic heroine when the film assigns her to such an idiotic and one-dimensional male character. Except that when it lets the characters talk about something other than relationships for a while, suddenly they're not so dumb and they actually drop some pretty interesting details. But what if these passages too are describing some classic male cliché, which I don't realize because I AM the cliché? And then there were those moments when I resisted jumping in on any of the suggested topics because I feared I was walking into a trap. A couple of times this proved justified, and yet I still occasionally fell for the traditional audience feel-good cliché "She's literally me!" (definitely in the scene where the heroine wanders around town, squeezing herself into someone else's party, where she’s advising others "from a medical position" on how to raise their children with two semesters of medicine under her belt), only to laugh at the film afterwards about how it has to help itself with a cancer plot. But that is suddenly the strongest passage, with a real palpable presence of finality, and it made me think of Verhoeven's Turkish Delight. By the end of the battle, I had almost acknowledged my full surrender before the film finally couldn't help itself and had to demonstrate that theme of female independence through the dilemma of having/not having a child and I was terribly annoyed by the last shot because who the fuck puts a monitor right next to the stove?! So the win goes to Trier, however in boardgame terms he didn't make it to Major Victory in the end but only to Minor. But I worked up a sweat. (21/03/2022)

So, what did I just watch? A romance or more of a psychological portrait of the main character? Probably a mix of both, but the truth is, after the first fifteen minutes, I was tempted to call it quits because I found myself somewhat bored. However, I stuck with it, and to my surprise, the film remained watchable despite its consistently slow pace. It didn't blow me away, but it wasn't dumb either, and I can comfortably agree with many of the ideas it presented. The overly drawn-out runtime is a major drawback, though, so I'll settle on a generous three stars. / Lesson learned: Take a moment to think before you judge someone. (15/05/2022)

The relationship between the distracted Julie and the internally balanced Aksel reflects all possible problems and vices of the contemporary world, with which we are willingly rushing to meet our doom. I find it quite strange that during the free fall, happy moments flash by, moments that have the power to pull the viewer into joyful euphoria. And that's exactly what happened to me a couple of times while watching the movie. (85%) (17/04/2023)