Sentimental Value follows sisters Nora (Renate Reinsve) and Agnes (Inga Ibsdotter Lilleaas) as they reunite with their estranged father, charismatic director Gustav Borg (Stellan Skarsgård). Once renowned, Borg offers stage actress Nora a role in what he hopes will be his comeback film. When Nora declines, she soon learns he has given the part to an eager young Hollywood star, Rachel Kemp (Elle Fanning). The two sisters must then navigate their complicated relationship with their father while dealing with an American actor placed at the centre of their family’s fragile dynamics.
This was my first Joachim Trier-directed film, and I was floored. While I enjoy blockbuster and action films, I also enjoy the occasional dramas—like Past Lives or We Live In Time. By the end of the film, Sentimental Value stood out to me as a wonderful journey between a father and a daughter struggling to find a way to communicate with one another. And by the end of this life adventure, the two found it through their shared works of art. It only took an outside family member for them to realize what they truly meant to each other.
With Oscar buzz already surrounding Sentimental Value, it is easy to see why it could be a contender for nominations. Sentimental Value functions as a drama-comedy, with Trier allowing the camera to linger so the actors can fully inhabit their characters’ emotions. Whether in quiet conversations at a restaurant or intimate exchanges in a bedroom, the cinematography heightens the closeness of each scene. At times, the movement of the camera even resembles a documentary style.
“By the end of the film, Sentimental Value stood out to me as a wonderful journey between a father and a daughter struggling to find a way to communicate with one another.”
From a visual standpoint, one striking shot shows Gustav and Rachel looking out at a sunset on the beach. Whether achieved through CGI or captured naturally on location, the cotton-candy hues of the sky are vivid. Trier also takes artistic risks by introducing abstract sequences that underscore key plot points through symbolic, non-linear imagery. While some shots extend as characters sit with their emotions, these creative choices add depth to the film. They reinforce its central theme: that family bonds are often layered, messy and full of conflicting feelings.
I have to applaud Sentimental Value for its camera work in capturing the Borg family home and its transformations over time. The first sweeping wide shot of the exterior offered a pleasant introduction, but it also conveyed a sense of history. The house did not appear sinister, but it carried the weight of many years of life. The only unusual choice was the decision to paint the present-day home in black and red.
My main critique of Sentimental Value is its pacing. It takes a long time for the protagonists to finally reach understanding by the end. This reflects how family disagreements can simmer for days, months or even years before resolution, but in this case, the story felt overextended.
If Sentimental Value had run closer to two hours, it may have felt tighter while still allowing the characters the space to express themselves. At times, Sentimental Value even leaned into anime-like tropes. Some flashbacks functioned as filler rather than adding clarity to the present-day storyline. While they provided additional background on the house and family history, these details could have been conveyed more effectively through subtle touches such as photographs or objects placed around the home.
This quartet of actors conveyed a realistic portrayal of family life, not in the heightened, argumentative style often depicted in American media. The authenticity may stem from the Norwegian writing and the socio-cultural perspective of Trier and Eskil Vogt. Reinsve and Lilleaas convincingly embodied sisters, particularly in scenes where their characters frequently visit one another and when Nora spends time with her nephew Erik.
“Sentimental Value functions as a drama-comedy, with Trier allowing the camera to linger so the actors can fully inhabit their characters’ emotions.”
Child actors often feel out of place in films, especially when given lines beyond their ability or when asked to perform at an unrealistic level. In this case, Øyvind Hesjedal Loven appeared in just enough scenes to enhance the story without becoming a distraction. Credit is also due to Andreas Stoltenberg Granerud as Even, Agnes’ husband, who served as comic relief, often managing to steal a scene despite having only a few lines.
While Fanning has her moments, Skarsgård stole the spotlight. If anything, he and Reinsve were battling for Sentimental Value’s spotlight, which adds another layer to the two characters fighting for attention. Coming off of major roles in Dune/Dune: Part Two and Andor, Skarsgård brought his best tools yet. As pitiful and arrogant as Gustav is, Skarsgård carried his suave charisma to the role, making for a likable father compared to a pure crappy dad trope.
Sentimental Value’s charm continued to weigh on me after the credits rolled. Despite it being one of the lengthier dramas, there was a lot of heart and good laughs steeped into this complex family story. While I would not call this a family movie, I would recommend it for families/parents to watch together when their kids have grown up in their twenties or thirties, or for estranged families to see how rough patches could potentially be mended. Sometimes, family issues can be solved through various art forms, and a passerby Hollywood star.
