Nordisk Film

Sentimental Value (2025): The House That Joachim Trier Built

Posted on by Jack Drees

“Sentimental Value” is directed by Joachim Trier (The Worst Person in the World, Louder Than Bombs) and stars Renate Reinsve (Presumed Innocent, A Different Man), Stellan Skarsgård (Dune, Andor), Inga Ibsdotter Lilleaas (Women in Oversized Men’s Shirts, A Beautiful Life), and Elle Fanning (Maleficent, The Neon Demon). This film is about the relationship between a filmmaker and his two estranged daughters, which only becomes more complicated when one of them declines to be in a film based on their family’s history.

Of the many prestige titles coming out at the end of 2025, one of the names that eventually found its name somewhere on my must see list was “Sentimental Value.” The film’s trailer seemed to tap into its central family drama, making for a rather intriguing idea. I did not care that it had a couple big stars or acclaimed names behind the scenes, though such things happened to be a bonus. Though selling me on a movie is not enough, I wanted to dive deeper into what I was buying, and what I bought was a fulfilling experience that highlights the ups and downs that comes with making personal art. Or in this movie’s case, perhaps as close as one can get to personal art.

Few things in life are as important as a good first impression. And “Sentimental Value” brings forth a dynamite first impression. The movie starts off with some of the best narration I have heard in a long time. The opening scene of the film is narrated from the perspective of a young Nora, one of the two daughters who play a large role in the story, and it taps into the idea of whether her house was alive, or happened to be aware of everything happening on the inside. Things such as the memories being made as well as the wear and tear that was being done to it over time. The editing throughout the scene perfectly matches each thought and neatly sets up everything that happens after, considering how much of a role that house continues to play in the characters’ lives.

Despite the film being a Norwegian production, “Sentimental Value” at times feels more like something straight out of Hollywood. Part of it has to do with the film having recognizable cast members including Stellan Skarsgård, who kills it as Gustav. But there is also Elle Fanning, who plays Rachel Kemp, an American actress. Kemp ends up taking the role in which Gustav originally asked Nora to play in his film, and I thought her presence often did a great job at representing Gustav’s tendency to sell out for the sake of his project. There is a great scene where Nora is riding an escalator and we see endless screens playing the same ad of Kemp as she’s going up.

The events in “Sentimental Value” very much reflect its name. Much of the movie revolves around a family home. In fact, one of the things Gustav wanted to make happen in his movie was being able to shoot it at said house. While the film does not dive into Gustav’s entire resume, it is easy to assume that  “Sentimental Value” is arguably Gustav’s most personal project yet considering he wants either someone or some place he knows in it. There is a saying that people should write what they know. There is also a saying that in filmmaking it is not a matter of what you know, and instead, who you know. While the latter can sometimes be seen as a negative in terms of allowing certain people a chance to find work, this movie does sometimes showcase the beauty and fun of working alongside family. For something like Gustav’s project, it only makes it more personal.

“Sentimental Value” is far from my favorite 2025 release. Though I do highly recommend seeing it, especially with someone you know. I had the privilege of seeing this film with a friend, and we had a pretty insightful discussion about it after. We knew a bit about each other so we were able to connect this movie to our lives. For example, throughout the film, we see that one of the differences between Nora and Agnes is that the latter has children. Of course, Nora gets the comment from her dad that having children is something she will not regret. That is an area in which the two seem to disagree. One of my favorite moments in the film is when Nora and Agnes are talking about the concept of having children, and Nora says while she does not have them, she said being Agnes’ big sister felt like being her parent. I am 26 years old, single, and do not have children. Frankly, I debate each and every day whether it is actually right for me to have children. And if my children read this years from now, please know, I am not saying this because I regret having you, or that I fear I will regret having you. But when I was younger, part of me felt like I was playing, to a certain extent, a fatherly role with my sister’s upbringing.

I was also pleasantly surprised to see the film’s occasional comedy chops. At its core, “Sentimental Value” is a drama, but it also weaves in some natural humor. Every instance of comedy felt more like something in the moment rather than a planned attempt to make people holler. One of my favorite moments of the film is getting to see Gustav explaining to Rachel the main idea for one of his film’s scenes involving a stool. When it is revealed that the story that inspired said scene was fabricated, the way that such a thing is done had me laughing. That said, whether the film goes into its more lighthearted laughable moments, its darker moments where we get some backstory, or the quite literally sentimental moments somewhere in between, it makes for one of 2025’s most compelling screenplays.

One final note about the film. While Netflix had no hand in producing or distributing “Sentimental Value,” I found it amusing how Gustav’s upcoming project was at one point going to be a Netflix movie. The film notes that this is not exactly Gustav’s first choice. Of course, one of the questions asked by the press about the movie is if it is going to be in theaters, to which I chuckled. Netflix’s refusal to put movies in theaters is astounding to me. By the way, as a reminder, please check out my reviews for “A House of Dynamite” and “Frankenstein,” two Netflix movies I saw in theaters this year, as much as they want me tied to my couch.

In the end. “Sentimental Value” is a completely inviting and moving package. It is film that showcases the importance of family while also diving into one’s personal struggles of being an artist. It balances both of these ideas perfectly and makes something beautiful out of both of them. Again, there are other films released this year I prefer, but I could see “Sentimental Value” having replay value somewhere down the line. I am going to give “Sentimental Value” a 7/10.

“Sentimental Value” is now playing in theaters. Tickets are available now.

Thanks for reading this review! My next review is going to be for “Zootopia 2!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Wake Up Dead Man: A Knives Out Mystery,” “Jay Kelly,” “Bugonia,” “No Other Choice,” and “Fackham Hall.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Sentimental Value?” What did you think about it? Or, would you ever want to make a movie based on your family’s history? Let me know down below! Scene Before is your click to the flicks!

The Apprentice (2024): Sebastian Stan Shines as Controversial Businessman Donald Trump

Posted on by Jack Drees

“The Apprentice” is directed by Ali Abbasi (Holy Spider, The Last of Us) and stars Sebastian Stan (Captain America: The First Avenger, The 355), Jeremy Strong (The Big Short, The Gentlemen), Maria Bakalova (Borat Subsequent Moviefilm, Guardians of the Galaxy Vol. 3), and Martin Donovan (Insomnia, Tenet). This film follows a young Donald Trump in the 1970s and 80s and examines his career as a businessman.

I will be honest, I was extremely hesitant to watch and review this film. Part of it is because I do not typically want to dive into politics on Scene Before. Well, maybe except for this month with my Election Days reviews. By the way, go check out my thoughts on “The Campaign,” “W.“, and “On the Basis of Sex” if you want to see me talk about some slightly older films. I mean, they are not that old, they are from the 21st century. That said, I will remind everyone that it is November 2024, therefore it is the culmination of an election year in the United States. Marketing-wise, it would make sense to release a film of this nature around the latter half of the year. But as a viewer, I was also weary of checking it out because regardless of my political views, election season is already anxiety-inducing on its own. But of course, I thought this would be a good film to talk about given the time of year, really the time in society in general. For the record, I am going to do as best as I can to stray away from my personal views on Donald Trump as a politician.

That said, one thing I will note for people maybe looking to watch this movie, it is not about Trump’s political career. It instead contains itself to a time where he was more well known as a mogul, a New York personality. Also despite the title, this is not set in the 2000s or 2010s. I say this because, well, Trump hosted “The Apprentice” at the time. As slightly misleading as that title could come off, there is a reason why the movie has its namesake. For one thing, the film is about a younger Trump, and heavily explores the building blocks of his business, his love life, his family life. It sprinkles a lot into a two hour runtime but it is not a piece about Trump’s entire life. Since I was born in the late 1990s, I inevitably know Trump more as a politician as opposed to anything else. Having followed Trump through that realm in recent years, he has certain trademarks, words, and mannerisms that have become a part of his personality. Sometimes they are even used against him in a jokey manner. Sebastian Stan to my lack of surprise dives into some of these trademarks, and while the film is definitely somewhat grounded with its intimate camerawork, it also has a feel to it that is comparable to more comedic material in media.

To be real, Sebastian Stan is probably not going to win the Academy Award for his portrayal of Donald Trump, as much as some may be convinced “liberal Hollywood” will let him win out of spite of others. But I like his performance in “The Apprentice.” Like I said, some of Trump’s trademarks come up in the film, and I think Stan masters them without coming off as a cartoon. One thing I have noticed over the years about most of the Trump performances I have seen is that a lot of them come off as hyperbolic. But those performances traditionally tend to fall within a certain context. Maybe they’re on a variety show like “America’s Got Talent” or “Saturday Night Live.” They tend to work for what they are. But I was surprised to see Stan deliver on a much calmer interpretation of the well-known businessman. Regardless of how I feel about Trump as a person, seeing something like this is refreshing. Now having seen the performance in this movie, kind of like say Alec Baldwin’s portrayal in “Saturday Night Live,” I am sure that there is an audience that will look at this performance, perhaps even the screenplay behind it, and immediately find themselves turned off by it. To call this a pro-Trump film would be like calling “Deal or No Deal” a pro-banker game show. Am I surprised by this film’s leanings? Not really. But the fact is I found the film as a whole to be entertaining. It is well-paced, it is engaging, and I latched onto the characters.

What this film surprisingly reminds me of is the “Star Wars” movies. This could apply to a number of them, but perhaps the first that comes to mind is “Revenge of the Sith.” As I continued to watch the relationship between Trump and attorney Roy M. Cohn, their dynamic in this film showed similarities to that of Anakin Skywalker and Palpatine. In this case, Trump would be the Anakin and Cohn would be the Palpatine. After all, Cohn is a little older, a little wiser, and very much getting into Trump’s head throughout the film. The movie presents Cohn as a mentor figure to Trump, instilling him with all sorts of knowledge. Cohn even presents three rules to Trump: “always attack, never admit wrongdoing, and always claim victory.” This is a motto that the public has seen Trump live up to in recent years especially regarding his political career.

I also love the overall aesthetic of this film. It is practically a symbol of Trump as he builds himself. If this were set years down the road, maybe this movie would be presented as something that looks more professional, considering how he would have continued to establish and maintain his name. But this matches a story about a guy who is trying to live up to his family name while also assembling the building blocks behind a legacy of his own. Only he has not yet been able to make that happen. Trump may be one of the most prominent men in the world today, but like with anyone else, getting to that position takes time.

The film is sometimes shot and presented in such a claustrophobic manner. It puts in you the movie with its multitude of closeups, darker colors, grim lighting, and sometimes vlog-like style. The more I look at this movie, it reminds me of those home videos shot on older camcorders in say the 1990s or early 2000s if you gave the captured video a pinch of polish and a bigger budget.

In the end, “The Apprentice” fires on all cylinders. It is engaging, it is raw, surprisingly funny at times, and lets out the best from its solid cast. Sebastian Stan, to my surprise, was a decent pick for the lead role. “The Apprentice” is most definitely not for everyone. In fact, I not only say that thinking a certain group of people who like Trump will immediately be turned off by the film, but there is also some visual content that may be uncomfortable for some viewers regardless of your political leanings or thoughts on Trump himself. In hindsight, I can see why this movie did not make a ton of money. People often go to the movies to escape, and I do not know if “The Apprentice” would be one of those films that would allow people to do such a thing, especially at this time. But I also could see why certain people would find the film to be relevant. I cannot recommend this movie to everyone, and knowing the current landscape, it is hard to know how many minds in any direction will be changed once the film’s over. That said, I give the film a thumbs up. It has a compelling narrative, good direction, and fine acting. I am going to give “The Apprentice” a 7/10.

“The Apprentice” is now playing in select theaters and is available to rent or buy on VOD.

Thanks for reading this review, my next review on the lineup is going to be for a film that is getting a lot of conversation right now, and that is “Anora.” I cannot wait to talk about this flick. Look forward to that review coming soon. Also on the lineup, I have reviews on the way for “Here,” “Gladiator II,” “Red One,” “A Real Pain,” and “Y2K.” Also, my final Election Days review is hitting the blog next week, and it is for the movie “Elvis & Nixon.” I just watched the film earlier this week and I cannot wait to talk about it. If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Apprentice?” What did you think about it? Or, in the spirit of Donald Trump… Tell me your honest thoughts on “Home Alone 2: Lost in New York.” Personally, while it has its moments, it is a bit lazy in its structure, very much copying the recent success of its predecessor. Also, how you do get lost in New York? If you know numbers, you’re good as gold! Either way, if you have thoughts on “Home Alone 2: Lost in New York,” let me know those thoughts down below. Scene Before is your click to the flicks!

Sisu (2022): A John Wick Wannabe Travels with Gold

Posted on by Jack Drees

“Sisu” is directed by Jalmari Helander (Big Game, Rare Experts) and stars Jorma Tomilla (The Christmas Party, Big Game), Aksel Hennie (Hercules, The Martian), Jack Doolan (The Boys, The Green Green Grass), and Mimosa Williamo (Headfirst, Lake Bodom). Set during the Lapland War, this film is about an ex-soldier who finds gold and must fend off Nazis on his journey into the city.

Some of the biggest studios today like Disney and Universal mostly rely on popular IP to keep their ships afloat. Lionsgate, while not being as big as those two, has done the same to respectable results. If you look at titles like “The Hunger Games,” “The Twilight Saga,” and “John Wick,” you would notice that these franchises have continued to receive sequels due to their popularity and recognition. Obviously with the first two, it helps when they are based on preexisting books. But “John Wick” is an interesting case where even a by the numbers movie with not the biggest, or smallest, of budgets can lead to a series of films that continues to receive praise from action junkies. While “The Hunger Games” is coming back and more of the “John Wick” universe is set to be unveiled in various stories, Lionsgate would benefit from a new franchise after “John Wick: Chapter 4.” After seeing one of the studio’s latest projects, “Sisu,” it has potential for expansion. That said, if I were not doing Scene Before, I would have mixed thoughts as to seeing another one of these movies if it were greenlit. I say this because I really enjoyed the movie, minus certain aspects that stuck out like a sore thumb.

This movie seems to be inspired by the “John Wick” formula. It centers around a man who happens to have a connection with a dog, and people attempt to get in his way. Therefore, he must stop them in perhaps the most diabolical, slickest way he can imagine. While it is a remix, I am not complaining because seeing Aatami do what he does best is satisfying to watch. There are some kills in this film that honestly rival a “Deadpool” movie or a Tarantino flick. While many action movies in recent years such as “Nobody,” “Wrath of Man,” or “Bullet Train” have a flair to them that reminds me of “John Wick” in some way, “Sisu” stands out because it is set long before those films. It is set during World War II, specifically through the Lapland War, where the rivals are Finland and Nazi Germany. If you are having trouble figuring out which side is represented as good and bad according to this movie, then you probably do not know where the title of this movie comes from.

That said, the title of this movie is quite fitting for the main protagonist of Aatami, because throughout the movie, his look comes off as someone who has seen everything that there is to see, and much of it was not good. And even in moments where he may look innocent, he will subvert expectations anyone had of him being a softie. We do not learn a textbook’s worth of information about Aatami, but we also learn enough to appreciate him. It hits the Goldilocks zone. All we learn is that he needs to get from point A to point B, with gold. Of course, since the opposition is Nazis, it makes it that much simpler to root for him.

“Sisu” is perfectly paced. Yes, there is a short runtime that may help some people, but that is not what I am necessarily pointing to. Within that short runtime, the film does very little, but it makes the most of its minimalistic nature. There are not too many characters, the plot is simple yet effective, and dialogue appears to be used sparingly. Speaking of small, the film cost €6 million (approx. $6.56 million) to make. This movie does a lot with that small budget, and despite the modest cost, it sometimes feels as big as some notable modern action blockbusters. The overall look, design, and feel of the film are perfect.

My biggest complaint with “Sisu” is that we get to a point in the movie, specifically during the third act, where I am having trouble believing anything that is happening. There are some good movies that exist that bend reality a bit such as some of the “Fast & Furious” sequels, “Kingsman: The Secret Service,” and “Scott Pilgrim vs. the World.” There are things in those movies that I would never expect to happen in real life, but they convince me that within the rules of their respective universes that they could be pulled off in that setting. There is something towards the end of “Sisu” that feels so off that it almost ruined the movie for me. Granted, the movie has a brilliant first half so of course I am going to praise it. The reason is because even though this movie jumps the shark quite a bit, it felt like it had a limit. And I know that this is an original film, this is not a spinoff or sequel that builds off of rules that already exist. But the movie flicked like a lightswitch. It went from ridiculous fun to colossal stupidity in a split second. It makes Dom Toretto’s Tarzan swing in “F9: the Fast Saga” feel real. I am not even joking.

This may sound like I hate the movie. I do not. If you scrolled down to this or the last paragraph, you may have missed my recent praise for it. I just think if I were in charge of the script I would have changed this one scene dramatically. There are a lot of other moments that had me laughing, gagging, or dropping my jaw with excitement. Much like the “John Wick” franchise, there are some highlight kills in this film for me that I continue to think about to this day. I recommend going to see this movie with a couple friends, maybe make it a guys night out. “Sisu” may take inspiration from other action flicks, but it does enough to make it its own thing. That said, if you do not like heavy violence or gore, you might want to sit this one out. Just a warning.

In the end, despite my one big complaint regarding “Sisu,” I have zero regrets having seen it. If Lionsgate or the other companies behind this movie wanted to recreate one of their most popular ideas but put it in World War II, they did so with excellence. It is a film that starts rather quiet, but its obnoxiousness increases with time. Sometimes for good, other times for bad. The film also supports the notion that if you make Nazis the villain, it is all the more satisfying to see a protagonist like Aatami potentially triumph. If I have any other recommendations, avoid the trailer. Don’t get me wrong. I watched the trailer for “Sisu” before going to see it. I think it is a good trailer. But I think this is one of those movies that is probably best viewed with a clean slate. It might increase some shock value. It is up to you, but if you want my two cents, that is what I have to give. Speaking of my two cents, I am going to give “Sisu” a 7/10.

“Sisu” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! My next review is going to be for “Guardians of the Galaxy Vol. 3!” And if you want even more upcoming content, I will also soon be talking about the new horror comedy “Renfield.” I waited a bit to watch this movie, but as to whether it is worth the wait, is a question that will be answered soon. If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Sisu?” What did you think about it? Or, what is a movie you like that has an ending that almost ruins it? Let me know down below! Scene Before is your click to the flicks!