“The girl with the needle“ is a disturbing drama that depicts the harsh reality of women on the subsistence level at the end of the First World War and their struggle for self-determination in a world of shattered dreams. After its world premiere in the Cannes competition, the nightmarish story about human depths directed by Magnus von Horn (“Sweat”) is now Denmark’s official entry for the Best International Film at the Oscars 2025. At the same time, the outstanding leading actresses, Victoria Carmen Sonne and Trine Dyrholm, each have hopes of winning an award at the European Film Awards. Based on one of Denmark's most famous criminal cases, the gripping black and white images bring a dark time in Europe vividly to life on the screen.
In 1919, Karoline (Victoria Carmen Sonne) makes her way alone in Copenhagen. There is no sign of life from her husband and since she has no document documenting his possible death at the front, she does not receive a widow's pension. She can no longer afford the rent and loses her apartment. Karoline's life seems to take a positive turn when Jørgen (Joachim Fjelstrup), the owner of the textile factory where she works, begins an affair with her. But when she becomes pregnant, he not only leaves her, but also gives her notice. So Karoline is suddenly left with nothing. When she reaches her lowest point, she meets Dagmar (Trine Dyrholm), who offers to give her unborn child to parents who can offer it a better future. Karoline soon gains confidence and even starts working in Dagmar's candy shop. She has no idea what a cruel secret Dagmar is hiding…
Karoline (Victoria Carmen Sonne) not only has to endure one setback after another in the textile factory.
Magnus von Horn opens his film with unidentifiable faces, which, driven by the disturbing soundtrack, contort into grimaces, screaming monstrously and tormented. An expressionistic, dark introduction to the abysmal morality of post-war Copenhagen, which could have come straight out of a horror film. It's a hard time, especially for women who have been able to define themselves almost exclusively by the man at their side. Living alone, they had little chance of a dignified life, let alone the opportunity to adequately care for a child. In this desperate scenario, the young women are only too willing to accept the false hope that Dagmar Overbye offers them.
At the center of the film is the fate-stricken Karoline, who depicts the sad fate of many young women of this time, dominated by a lack of prospects. Victoria Carmen Sonne (“Godland”) embodies her as a tough, somewhat naive woman who, despite all adversity, continually shows strength and makes her way. With charisma and a fearsome determination, the great Trine Dyrholm (“Queen”) captivates in the role of the mysterious Dagmar, who proves to be an important ally for Karoline – at least at the beginning of their friendship – in the fight against the harshness of fate.
Magnificent drama cinema
Dyrholm masterfully allows the ambivalence and inner brokenness of this outwardly strong woman to shine through. Although Overbye's personal background remains a mystery, it becomes immediately clear to the viewer that she too must have suffered a lot. The women who sought them out were either unable or unwilling to look after their children's well-being themselves. Obrerdivkl's dubious interpretation of morality refers to the fact that the women were only too happy to accept the unlikely possibility of the children being adopted by loving, wealthy parents in order to calm their conscience and be able to continue their lives unburdened without the unwanted children.
Director Magnus von Horn describes “The Girl with the Needle” as a modern fairy tale for adults. It is a film in which the viewer meets a poor woman who lives in an attic, a prince on a white horse who later turns out to be a coward, a monster without a face but with a heart of gold, and a witch a candy store. With this fairytale-like style, he wanted to tell a story that took place a long time ago, but dealt with a topic that is still of great importance today: It's about being “unwanted” and the question of how we as a society deal with people. who are branded as “undesirable”.
Magnus von Horn tells his film in deceptively beautiful black and white images.
The black and white images are impressive and not only give the abysmal drama an even more realistic atmosphere, but also a dark atmosphere that corresponds to the plot. In this harsh world, where disturbing fates collide at every corner, there is no room for color. In addition, the black and white images reflect historical photographs that shape our image of this time. A scene in which a crowd of workers streams out of the open gates of the textile factory after work can even be understood as a reminiscence of the legendary “Workers Leave the Lumière Factory” (1895), one of the very first films ever made.
Conclusion: Disturbing, gripping and brilliantly played! In captivating black and white images, “The Girl with the Needle” tells a nightmare about self-determination, false promises and desperation based on real events. Director Magnus von Horn paints a gritty, realistic picture of Europe after the First World War, in which two women try to survive in a hopeless place and don't shy away from making extreme decisions. As a viewer you have to be able to put up with a lot, but it's worth it!
We saw “The Girl with the Needle” as part of the 21st Festival de Sevilla.