Julie is a medical student in Oslo, where she starts a relationship with Aksel Willman, a comic artist fifteen years her senior. Now dabbling in writing, she spends a weekend with Aksel at his parents’ house. Aksel floats the idea of starting a family to Julie, but Julie is uncertain. While walking home from a publishing event for Aksel, Julie crashes a wedding reception and meets Eivind, a barista. Though both are in relationships, they spend the night together sharing intimacies. They exchange only their first names and part ways.

Julie writes a blog post about feminism and oral sex. Aksel is impressed with it and encourages her to post it online, where it receives attention. She celebrates her 30th birthday at her divorced mother’s home but her estranged father fails to attend, claiming he injured his back. Days later, Julie’s half-sister inadvertently reveals that their father was watching her play at a football tournament on the day of her birthday. He makes excuses to decline Aksel’s invitation to visit him and Julie in Oslo. While working at a bookstore, Julie encounters Eivind and his girlfriend Sunniva. At dinner with Aksel’s brother and sister-in-law, Aksel complains about the sanitized cinematic adaptation of his politically incorrect comic series Bobcat, leaving Julie feeling bored and ignored. She dreams that she goes on a date with Eivind, where they fall in love. The next day, she breaks up with Aksel.

Eivind leaves climate-conscious Sunniva because of their restrictive lifestyle. Julie and Eivind move in together. He hosts a small party where one of his friends uncovers Eivind’s stash of psychedelic mushrooms, which Julie consumes leading to hallucinations. The following night, she confides in Eivind that she can be herself around him, but he seems to ignore her claims. Aksel’s brother happens upon Julie at work and discloses that Aksel has inoperable pancreatic cancer. Sometime later, Eivind finds a short story Julie had written. When he assumes it is based on her real-life experiences, Julie angrily denies it and patronizes him.

Julie learns she is pregnant and delays telling Eivind. She visits Aksel in the hospital where he Aksel confides that he is afraid to die and still loves her. Julie admits that she is pregnant. Despite his assertions that she would be a good mother, she remains frightened. Returning home, Julie tells Eivind about her pregnancy, and they decide to separate while she determines whether she wants to keep the child. After spending time with Aksel, Julie later receives a voicemail from his brother reporting that Aksel is unlikely to survive the night. While showering, she miscarries.

Some time later, Julie is working as an on-set photographer for a film shoot. She photographs an actress and then sees her outside with Eivind and a baby. She returns home to edit the day’s photos.

Verdens verste menneske AKA The Worst Person in the World (2021).576p.BDRip.Norway_KG.mkv

General
Container:  	Matroska
Runtime: 	2 h 7 min
Size: 	3.08 GiB
Video
Codec: 	x264
Resolution: 	1024x552 
Aspect ratio:  	1.85:1
Frame rate: 	24.000 fps
Bit rate: 	3 000 kb/s
BPP: 	0.221
Audio
#1:  	Norwegian 5.1ch AC-3 @ 448 kb/s (The Original Audio of the Movie)

https://nitro.download/view/63AE71B73382082/Verdens_verste_menneske_AKA_The_Worst_Person_in_the_World_(2021).576p.BDRip.Norway_KG.mkv

https://rapidgator.net/file/d8b1e6ac278741a88737c59ce2b9108a/Verdens_verste_menneske_AKA_The_Worst_Person_in_the_World_(2021).576p.BDRip.Norway_KG.mkv

Language(s):Norwegian
Subtitles:English (srt muxed as optional)

The post Joachim Trier – Verdens verste menneske AKA The Worst Person in the World (2021) first appeared on Cinema of the World.

Sisters Nora and Agnes reunite with their estranged father, the charismatic Gustav, a once-renowned director who offers stage actress Nora a role in what he hopes will be his comeback film. When Nora turns it down, she soon discovers he has given her part to an eager young Hollywood star.

	
Sentimental.Value.2025.1080p.AMZN.WEB-DL.DDP5.1.H.264-BYNDR.mkv

General
Container:  	Matroska
Runtime: 	2 h 13 min
Size: 	9.13 GiB
Video
Codec: 	h264
Resolution: 	1920x1040 
Aspect ratio:  	1.85:1
Frame rate: 	23.976 fps
Bit rate: 	9 167 kb/s
BPP: 	0.191
Audio
#1:  	Norwegian Bokmal 5.1ch E-AC-3 @ 640 kb/s

https://nitro.download/view/6A740AE0F06DAB5/Sentimental.Value.2025.1080p.AMZN.WEB-DL.DDP5.1.H.264-BYNDR.mkv

Language(s):Norwegian, English
Subtitles:English

The post Joachim Trier – Affeksjonsverdi AKA Sentimental Value (2025) (HD) first appeared on Cinema of the World.

Follows Nora and her sister Agnes as they mourn the loss of their mother and adjust to the return of their father Gustav. Gustav has written a script and offered the main part to his daughter Nora, but she categorically refuses the role.

Sentimental.Value.2025.MULTi.1080p.WEB-DL.H264-Slay3R.mkv

General
Container:  	Matroska
Runtime: 	2 h 13 min
Size: 	6.61 GiB
Video
Codec: 	h264
Resolution: 	1916x1036 
Aspect ratio:  	1.85:1
Frame rate: 	24.000 fps
Bit rate: 	6 714 kb/s
BPP: 	0.141
Audio
#1:  	Norwegian 5.1ch AC-3 @ 384 kb/s (VO : Norwegian)

https://nitro.download/view/F42D76D41F5034D/Sentimental.Value.2025.MULTi.1080p.WEB-DL.H264-Slay3R.mkv

Language(s):Norwegian/English
Subtitles:French

The post Joachim Trier – Affeksjonsverdi AKA Sentimental Value first appeared on Cinema of the World.

Synopsis wrote:
Three years after his wife, acclaimed photographer Isabelle Reed, dies in a car crash, Gene keeps everyday life going with his shy teenage son, Conrad. A planned exhibition of Isabelle’s photographs prompts Gene’s older son, Jonah, to return to the house he grew up in – and for the first time in a very long time, the father and the two brothers are living under the same roof.

Louder Than Bombs (2015).mkv

General
Container:  	Matroska
Runtime: 	1 h 49 min
Size: 	2.31 GiB
Video
Codec: 	x264
Resolution: 	1024x552 
Aspect ratio:  	1.85:1
Frame rate: 	23.976 fps
Bit rate: 	2 800 kb/s
BPP: 	0.207
Audio
#1:  	English 5.1ch AC-3 @ 224 kb/s

https://nitro.download/view/5FDBB1F46ADD639/Louder_Than_Bombs_(2015).mkv

Language(s):English
Subtitles:English

The post Joachim Trier – Louder Than Bombs (2015) first appeared on Cinema of the World.

Quote:
Reprise is a Norwegian film directed by Joachim Trier, starring Anders Danielsen Lie, Espen Klouman-Høiner and Viktoria Winge. Co-written over the course of five years with Eskil Vogt, it is Trier’s first feature-length film. The film was the Norwegian candidate for the Oscar as best foreign language film in 2006.

Reprise is a film about friendship, madness and creativity, love and sorrow, great ambitions, and the unpleasant discrepancy between hope and reality. It has a distinct narrative structure, in which recordings are done in black and white using hand-held cameras, and playful montages and voiceovers are put to use. The film was partly inspired by François Truffaut and the French Nouvelle Vague.

Directed by Joachim Trier reprise movie is a Norwegian film, starring Anders Danielsen Lie, Espen Klouman-Høiner and Viktoria Winge. It is Trier’s first feature-length film that was co written by Eskil Vogt that too over the course of five years. The reprise movie was the Norwegian candidate for the Oscar as best foreign language film in 2006. the reprise movie has a distinct narrative structure, in which recordings are done in black and white using hand-held cameras, and playful montages and voiceovers are put to use. Reprise is a film about friendship, madness and creativity, love and sorrow, great ambitions, and the unpleasant discrepancy between hope and reality. The film was partly inspired by François Truffaut and the French Nouvelle Vague.

The plot of the reprise movie shows two 23-year olds, Erik and Phillip, who are dreaming of becoming successful writers. They idolize the reclusive writer Sten Egil Dahl who, although fictional, was modeled after the real-life Tor Ulven. When they both try to get a manuscript published, Erik’s script is rejected. Phillip, on the other hand, gets his manuscript accepted and overnight he goes on to become a star of the Norwegian literary scene but soon suffers a collapse In between soaring and falling, he finds Kari and falls in love with her. Six months later, Erik and his friends pick up Phillip at a psychiatric hospital to bring him home after a long treatment. Erik still hasn’t given up his dreams of becoming a successful writer , but Phillip isn’t able to write anymore After Phillip’s breakdown, the center of gravity shifts to Erik, whose life unwinds as if it is some kind of counter narrative to his broken friend’s story, which is more or less what it becomes. Erik’s first novel is at last published.

2.51GB | 1h 46m | 1024×552 | mkv

https://nitro.download/view/78660D45B31DAE3/Joachim_Trier_-_(2006)_Reprise.mkv

Language:Norwegian
Subtitles:English,Danish,Norwegian,Swedish

The post Joachim Trier – Reprise (2006) first appeared on Cinema of the World.

Quote:
An unexpected selection of Munch’s late paintings are collected for the exhibition Karl Ove Knausgårds sets up at the Munch Museum. Joachim Trier follows him on the way to the opening.

821MB | 48m 09s | 1280×720 | mkv

https://nitro.download/view/90BF4B26CB8F957/Den_andre_Munch_(2018).mkv

Language(s):Norwegian
Subtitles:Norwegian

The post Emil Trier & Joachim Trier – Den andre Munch AKA The Other Munch (2018) first appeared on Cinema of the World.

Synopsis wrote:
A college student starts to experience extreme seizures while studying at a university in Oslo, Norway. She soon learns that the violent episodes are a symptom of inexplicable, and often dangerous, supernatural abilities.

David Ehrlich @ IndieWire wrote:
There’s something very wrong with Thelma, though we’re not quite sure what it is. We first meet her when she’s just a child, living with her devoutly religious family in a remote town on the coast of Norway. The girl’s father, Trond (Henrik Rafaelsen), takes her hunting on the shores of the frozen lake next to their house. Thelma walks ahead of her dad, entranced by the sight of a deer. Standing behind his daughter, Trond silently points his rifle at her head. He doesn’t pull the trigger, but the temptation is there.

“Thelma” — an ominous, unnerving, and strangely powerful thriller about the most devious of human desires — might appear to be a change of pace for “Oslo, August 31st” writer-director Joachim Trier, but the story tenses and frets with the same melancholy glimmer that courses through his dramas. Here, the Norwegian’s filmmaker’s signature brand of existential dread (always coupled with and complicated by a youthful sense of becoming), is expressed through style more than action. This isn’t a movie where all that much happens, but every decision ripples with darkness.

The brunt of the action takes place more than a decade after that disconcerting prologue, when Thelma acts against her parents’ wishes and enrolls as a freshman at a university in Oslo. Played as an adult by the entrancingly blank Eili Harboe, she’s an isolated misfit (pretty but self-contained), unequipped with the social skills that seem to come so easily to the kids who grew up in secular homes. She’s shy, and tends to tremble, but Thelma doesn’t appear to be afraid of other people; if anything, she’s afraid of herself. It’s not much of a spoiler to suggest that she has good reason to be scared. There’s something inside of her, and it starts to to shake its way out one gray afternoon in the university library. Only moments after sparking a conversation with a beautiful fellow student named Anja (musician Kaya Wilkins), the electricity proves to be too much, and Thelma starts to violently convulse on the floor. This will not be the last of her seizures.

A new friendship is waiting for our heroine when she wakes up: Anja is as warm and outgoing as Thelma is cold and enclosed, but there’s an immediate attraction between the two girls, and neither one of them is able to control it. Trier endows the intractable compulsions of self-discovery with a supernatural charge, as animals start to follow Thelma wherever she goes, slithering even into her dreams. One night, Anja appears out of the black forest that surrounds Thelma’s dorm, unsure of how she got there. Later, the two girls enjoy a brilliant night at the symphony, only for the slightest flirtation to threaten the lives of everyone in attendance. Thelma begs God to rid her of lesbian thoughts, yet God seems to have other ideas in mind. Trier’s protagonist may think that she’s in a sweet coming-out story that uses genre elements to express the sheer force of finding oneself, but this young woman is about to learn that she’s in a very different kind of movie.

It would be potentially ruinous to discuss how “Thelma” develops from there, but rest assured that Trier ramps up the strangeness with every new scene, this frigid little fairy tale eventually coming to feel like an adaptation of “Carrie” as directed by Ingmar Bergman. Shot in cinemascope and shivering with elemental imagery (the thick ice that stretches across the surface of her parents’ lake doubles as an effective expression of Thelma’s isolation from the rest of the world), Trier’s film slowly mutates universal growing pains into specific ingredients for existential horror. Lust is just the tip of the iceberg, though “Thelma” is consistently keyed in to the persuasive power of the female body, and how the strength of physical attraction can sometimes be complicated by its shallowness.

The longer the movie goes, the more that sex just becomes a means to an end. As Thelma’s physical state worsens and she’s diagnosed with psychogenic non-epileptic seizures (an affliction that once led to women being labeled as witches), Trier begins to leverage her bizarre condition into a smirking commentary on the human id. Diving into Thelma’s sordid past — why is her mom in a wheelchair, anyway? — Trier increasingly forgoes the loquaciousness of his previous Norwegian-language films in favor of natural imagery that says things his characters can’t even admit to themselves. Over time, the sight gags of a relatively standard psychological thriller (e.g. Thelma being trapped underwater in her university swimming pool) are replaced by visuals that seethe with biblical fury.

The more disturbing the set pieces get, the more fundamental the questions they ask us become. If the first half of the film contemplates how difficult it can be for teenagers to come into their own power and outgrow their parents, the second half interrogates the basic value of unconditional love, and whether people really need each other at all. As compulsively watchable as Harboe can be, Thelma is too much of an empty vessel to eclipse the beguiling madness that Trier invents for her; she’s reserved to the point that she borders on a non-character, and there are moments when the freaky circumstances of her freshman year feel interesting in spite of her. As a result, the movie sometimes strains to get where it’s going, and its sillier moments have a way of diluting the impact of its more serious ones. And yet, Thelma’s story sticks to your bones like a shiver, and sinks deeper for days after the credits have rolled. Her hollowness gets filled in as the body count starts to rise, Trier revealing her dormant power, scooping out her purpose, and inviting each viewer to fill it in with their most uncomfortable impulses.

When Thelma stares into the abyss, the abyss stares back, and both sides like what they see. It’s almost calming. The stillness of this unassuming film ultimately becomes the scariest thing about it, as Trier reconciles his protagonist’s inner and outer desires, her faith and her feelings, and leaves us wondering how terrible it would be — how terrible we would be — if everyone always got exactly what they wanted.

http://nitroflare.com/view/F7E5FEC721DB13B/w-thelma.720p.mkv
http://nitroflare.com/view/0DF9C9A9D1A8CA5/Thelma_-_Joachim_Trier_%282017_Norway%29.srt

Language(s):Norwegian
Subtitles:Norwegian, Finnish, Danish,English

The post Joachim Trier – Thelma (2017) first appeared on Cinema of the World.