Academy Award-nominated writer-director Joachim Trier recently spoke with Collider's Steve Weintraub about his latest cinematic venture, “Sentimental Value”, and his evolving philosophy on filmmaking. Following the critical acclaim of his 2021 feature, The Worst Person in the World, Trier has continued to captivate audiences with story-driven narratives, and early reviews suggest “Sentimental Value” may become an Oscar contender.

During the interview, Trier reflected on maintaining creative control, the cinematic beauty of Norway, and his evolving definition of what constitutes a Hollywood movie. Recalling a memorable anecdote from the Telluride Film Festival, he shared Alexander Skarsgård's reaction upon watching “Sentimental Value” for the first time.

Trier, renowned for exploring complex human emotions, raised critical questions about the modern film landscape: “What is Hollywood? It's not what it used to be.” He observed that, while Hollywood continues to produce blockbuster hits, there is a growing global appetite for international and story-driven cinema, a niche in which his films thrive. This trend contrasts with the prevailing dominance of franchises, mega-budget productions, and numerous canceled series.

Expressing satisfaction with his Norwegian filmmaking approach, Trier emphasized the freedom of creating personal stories at home, featuring both English and Norwegian dialogue. Actors like Elle Fanning traveled to Norway to bring authenticity to “Sentimental Value,” allowing Trier to tell a narrative without compromise. He highlighted that his method allows for full control over storytelling, character development, and cinematic atmosphere.

The film stars a stellar ensemble, including Renate Reinsve, Stellan Skarsgård, Elle Fanning, and Inga Ibsdotter Lilleaas. “Sentimental Value” explores the complex relationship between acclaimed director Gustav Borg (Skarsgård) and his daughters, Nora (Reinsve) and Agnes (Lilleaas). Old tensions surface when Gustav offers Nora a role in his new project, which she declines outright, highlighting the generational and emotional rifts at the heart of the story.

Trier also detailed the meticulous editing process, condensing a three-hour initial cut into a focused narrative while occasionally sacrificing individual character moments to strengthen the overarching story. He humorously referenced his signature Oslo sequences as “two people walk into a park,” emphasizing the understated beauty and realism that permeate his films. Trier concluded by hinting at future directorial projects, continuing his commitment to story-driven, emotionally resonant cinema that challenges conventional Hollywood norms.