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With little context beyond base place names and proper nouns, Jia Zhangke’s latest documentary charts China’s rapidly transforming identity over the past seven decades. Joachim Trier’s The Worst Person in the World is as indecisive as its endlessly curious heroine, but it is an invigorating, exceedingly kind portrait conveying that the journey is just as-if not more-crucial as the place we end up.- Brianna Zigler When we’ve finally caught up to her present, she’s entered into a long-term relationship with a successful, 44-year-old graphic novelist named Aksel (Anders Danielsen Lie), whose prosperous career has given her the stability to work a day job at a bookstore while she decides what she wants to set her sights on next. The chapters are never consistently timed, some lasting only a few minutes and others lasting the length of a television episode, creating an atmosphere in which we never know how much time has passed, and yet time is passing all the same-and quickly-for Julie. Thus, The Worst Person in the World functions like a fractured collection of moments in one person’s life as they strive for self-actualization. Prior to this breakneck, whimsically-scored narrated montage of Julie’s life so far (edited with precision by Olivier Bugge Coutté and scored by Ola Fløttum), the narrator explains what’s going to happen: This is a film in twelve chapters, complete with a prologue and an epilogue.
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But unsurprisingly, photography manages to bore Julie as well, and soon enough she’s off to the next new thing, next new hairstyle, next new guy in the adult coming-of-age film that is Joachim Trier’s The Worst Person in the World, the director’s follow-up to the 2017 supernatural thriller Thelma and his fifth film overall. So, she cuts and dyes her hair, dumps her med school lover and pivots to psychology pursuits before burning that all down too, shifting once again-this time to photography. A teenaged overachiever, she dabbled in medicine before she discovered that she was more interested in matters of the soul than the body. Enter Julie (Renate Reinsve, Dakota Johnson’s long-lost twin), a fickle Norwegian who has never stayed committed to one thing in her entire life. We are afforded more time to become who we want to be and there is more pressure than ever to do so. Young people now are caught in this strange purgatory between child and adult.
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A spouse, a career, a gaggle of children-at least one of these things and even better if all three. Not as long ago as we might think, it was the norm for adults in their 20s and 30s to have it all figured out. Millennials were born into a world that no longer demands much of young people, yet somehow expects even more of us.
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Here are our picks for the 25 best international movies of the year: If you can brave the one-inch barrier of subtitles for these incredible films, you’ll be vastly rewarded with a range of genres, styles and A-list filmmakers at the tops of their games. This list counts movies from over a dozen countries, spanning topics as diverse as horny lesbian nuns, truck-mating impostors and the expression of grief from two quiet folks in a car. In our second year of highlighting important movies from outside the U.S., we’ve expanded our scope because, well, there are just so many good movies coming from outside the U.S.