THE WORST PERSON IN THE WORLD

"I grew up in a time when culture was passed along through objects. They were interesting because we could live among them. We could pick them up. Hold them in our hands. Compare them. That's all I have. I spent my life doing that. Collecting all that stuff, comics, books... And I just continued, even when it stopped giving me the powerful emotions I felt in my early 20s. I continued anyway. And now it's all I have left. Knowledge and memories of stupid, futile things nobody cares about." - Aksel Willman

A transition has happened over the last two decades. The rise of social media and omnipresent interconnectedness has insidiously woven its way into how young adults develop. Promiscuity is no longer taboo; children develop skills behind a screen rather than outside on the playground; indecision is welcomed, expected even, when choosing a career path. No film has unequivocally exemplified this phenomenon then Joachim Trier’s ‘The Worst Person in the World.’

The film follows Julie, a mid-20’s doctoral turned psychology turned photography student as she weaves her way through her 20’s. She deals with typical young adult issues, contemplating parenthood, a career path, but most importantly, who she is. Having the film set in the present day, the accuracy and relevance of certain societal matters, such as #metoo and the constant distractions from digital interference, makes her story hit close to home. The difference between the 90’s way of life and the 2020’s way of life is stark, and has heavily affected people who had developmental years in both. People like Julie.

One thing that makes ‘The Worst Person in the World’ so poignant is how intimate and invasive it is. Trier does an impeccable job making the audience not only feel like they are present in the room but also feel like they are intruding on something personal and raw. It made the film feel like a character study, which in turn enhances our desire to not only relate to Julie but to root for her.

This intimacy in filmmaking is most prevalent in chapter 2 ‘Cheating.’ Julie meets Eivind at a party she crashes where they get to know each other in ways that come close to crossing the line of cheating; i.e. blowing smoke in each others faces, watching each other go to the bathroom. In doing so, what is created actually ends up being the most romantic and personal series of scenes in the film. The boundaries of what infidelity and amity truly are is visually discussed, can cheating stray from the physical realm? Regardless of the answer, Julie and Eivind's not-normally-considered-cheating physical interactions feel like a deeply disloyal line has been crossed.

Between her character development in the script and Renate Reinsve’s acting, Julie as a character is realistically accessible and easy to connect with. The type of person that Julie represents - the indecisive, self-prioritized, sexually liberated millennial - fosters a relationship with the audience. Furthermore, in this time of technological transition and self promotion, people connect with her, understanding her mental fluctuation and her desire for freedom in following her own path. People need Julie, because she represents a type of person that acknowledges the cultural normalities of the past, but chooses to embrace the hedonistic lifestyle of the present.

The Magnum Opus of scenes in this film comes at the end, a discussion between Julie and Askel. The dialogue in this scene ties all the themes of the film together; how different the world has become, how terrifying it is to reach a point in life where you only live in the past because you don’t believe in your future, how easy it is to convince yourself that hedonism and self discovery makes you the worst person in the world. Anders Danielsen was such a genuine force delivering this. Heartbreaking and cerebral, a masterclass that put this film over the edge.

‘The Worst Person in the World’ at the end of the day is a love letter to anyone who feels lost and undecided. Undecided about what to do, undecided about who to love, undecided about who you are. Beautifully filmed and artistically written, Trier holds his audience’s hand as he walks into a new age of self-indulgence and media obtrusion while saying it is ok to not feel fulfilled during times where you feel you should. It is okay to put yourself first. Thank you Julie, for proving you can be happy and not happy at the same time.