DIRECTOR: Magnus von Horn
STARRING: Vic Carmen Sonne, Trine Dyrholm, Besir Zeciri, Joachim Fjelstrup
RUNNING TIME: 2 hrs 2 minutes
LANGUAGE: Danish
Karoline, a young factory worker, finds herself abandoned and pregnant while striving to climb out of poverty in post World War I Copenhagen. Amidst her struggles, she meets Dagmar, a charismatic woman running a hidden adoption agency within a candy store, helping poor mothers in finding foster homes for their unwanted children.
***
The Girl with the Needle debuted in competition at the Cannes Film Festival and is Magnus von Horn’s first Danish-language feature. His Swedish-produced feature debut, The Here After, premiered in Directors’ Fortnight in 2015, while his second feature film, the Polish-produced Sweat, was part of the official program of the Covid-canceled Cannes in 2020. The film will have its theatrical premiere in New York and Los Angeles on December 6 via Mubi. The Match Factory holds world sales rights.
Jacob Neiiendam, Head of International at The Danish Film Institute and chairperson of the Danish Oscar Submitting Committee, said of the unanimous selection, “The committee found The Girl with the Needle the strongest Danish candidate to secure an Oscar nomination this year.” The film was chosen from a shortlist of three films that also included Echo of You by Zara Zerny and Sons by Gustav Möller.
Malene Blenkov and Mariusz Włodarski produced the film for Nordisk Film Creative Alliance with support from The Danish Film Institute, The Swedish Film Institute, The Polish Film Institute, Nordisk Film & TV Fond and Eurimages among others.
The Girl with the Needle is a drama and it was filmed in Copenhagen, Denmark.
To check out all previous submissions for Denmark, click HERE.
STARRING: Vic Carmen Sonne, Trine Dyrholm, Besir Zeciri, Joachim Fjelstrup
RUNNING TIME: 2 hrs 2 minutes
LANGUAGE: Danish
Karoline, a young factory worker, finds herself abandoned and pregnant while striving to climb out of poverty in post World War I Copenhagen. Amidst her struggles, she meets Dagmar, a charismatic woman running a hidden adoption agency within a candy store, helping poor mothers in finding foster homes for their unwanted children.
***
The Girl with the Needle debuted in competition at the Cannes Film Festival and is Magnus von Horn’s first Danish-language feature. His Swedish-produced feature debut, The Here After, premiered in Directors’ Fortnight in 2015, while his second feature film, the Polish-produced Sweat, was part of the official program of the Covid-canceled Cannes in 2020. The film will have its theatrical premiere in New York and Los Angeles on December 6 via Mubi. The Match Factory holds world sales rights.
Jacob Neiiendam, Head of International at The Danish Film Institute and chairperson of the Danish Oscar Submitting Committee, said of the unanimous selection, “The committee found The Girl with the Needle the strongest Danish candidate to secure an Oscar nomination this year.” The film was chosen from a shortlist of three films that also included Echo of You by Zara Zerny and Sons by Gustav Möller.
Malene Blenkov and Mariusz Włodarski produced the film for Nordisk Film Creative Alliance with support from The Danish Film Institute, The Swedish Film Institute, The Polish Film Institute, Nordisk Film & TV Fond and Eurimages among others.
The Girl with the Needle is a drama and it was filmed in Copenhagen, Denmark.
To check out all previous submissions for Denmark, click HERE.
FILM REVIEW:
(This review contains spoilers.)
“The world is a horrible place. But we need to believe it’s not so.”
Magnus von Horn’s The Girl With the Needle is a haunting and evocative historical drama that captures the harsh realities faced by women in post-World War I Copenhagen. Danish actress Vic Carmen Sonne delivers a mesmerizing performance as Karoline, a young seamstress whose life takes a devastating turn when her wealthy lover abandons her upon learning she is pregnant. Set against the gritty, cobbled streets of early 1920s Denmark, the film uses a claustrophobic 3:2 aspect ratio, stark black-and-white cinematography, and authentic period details to immerse viewers in a world where societal constraints trap women in impossible situations. This gritty authenticity not only grounds the film but underscores the limited options women faced, giving the story an urgent resonance.
At the heart of The Girl With the Needle is Sonne’s portrayal of Karoline, a character who is both vulnerable and fiercely resilient. Her nuanced performance captures Karoline’s struggle to navigate the treacherous waters of poverty, abandonment, and social stigma. Her childlike naivety, fierce determination, and fleeting moments of hope make her plight deeply relatable, even as she faces heartbreaking choices. The film explores her complex emotions, particularly when her long-lost husband returns from the war, scarred and masked. His reappearance further complicates her relationship with Jorgen, her former lover, casting a shadow of despair as Karoline’s choices narrow. Sonne’s portrayal makes Karoline’s journey unforgettable, offering a layered, sympathetic portrait of a woman struggling for control over her life.
Trine Dyrholm’s portrayal of Dagmar, the sinister candy-store owner, adds a chilling depth to the story. Initially presenting as a maternal figure willing to help Karoline, Dagmar quickly reveals her darker side, running an underground adoption agency that preys on vulnerable women like Karoline. Dyrholm’s performance balances warmth with menace, drawing viewers into her unsettling web and delivering a performance that feels like it belongs in a Gothic fairy tale. This duality, between savior and predator, makes Dagmar one of the film’s most compelling characters, a figure scarred by her own experiences yet utterly ruthless in her actions. Her ominous presence builds tension as Karoline’s hopes are dashed, underscoring the theme of betrayal by the very institutions and people meant to protect.
The film’s haunting visuals, crafted by cinematographer Michał Dymek, evoke the eerie stillness of vintage photographs, adding a timeless quality to the story. The cobbled streets, narrow alleyways, and grim interiors feel alive with history, creating a sense of place that is as beautiful as it is oppressive. Dymek’s use of light and shadow heightens the emotional stakes, reinforcing the isolation and hopelessness felt by Karoline as she navigates a world where poverty and shame leave her with few allies. Editor Agnieszka Glinska’s precise cuts add to the atmosphere, subtly intensifying the suspense with each scene. These visual and editorial choices combine to make the film a cinematic experience that is both aesthetically captivating and emotionally raw.
The Girl With the Needle is a masterful exploration of resilience in the face of adversity. While its setting may be specific, the story is universal, touching on issues of bodily autonomy, social judgment, and survival that resonate profoundly today. By focusing on Karoline’s humanity and her fight for a semblance of control, von Horn crafts a narrative that is both heart-wrenching and inspiring. Though the film tackles grim subjects, it ends with a glimmer of hope, offering a hard-won redemption that feels both necessary and cathartic. This fairy-tale-like resolution gives the audience a sense of closure, reminding us that strength and empathy endure even in the darkest circumstances.
(This review contains spoilers.)
“The world is a horrible place. But we need to believe it’s not so.”
Magnus von Horn’s The Girl With the Needle is a haunting and evocative historical drama that captures the harsh realities faced by women in post-World War I Copenhagen. Danish actress Vic Carmen Sonne delivers a mesmerizing performance as Karoline, a young seamstress whose life takes a devastating turn when her wealthy lover abandons her upon learning she is pregnant. Set against the gritty, cobbled streets of early 1920s Denmark, the film uses a claustrophobic 3:2 aspect ratio, stark black-and-white cinematography, and authentic period details to immerse viewers in a world where societal constraints trap women in impossible situations. This gritty authenticity not only grounds the film but underscores the limited options women faced, giving the story an urgent resonance.
At the heart of The Girl With the Needle is Sonne’s portrayal of Karoline, a character who is both vulnerable and fiercely resilient. Her nuanced performance captures Karoline’s struggle to navigate the treacherous waters of poverty, abandonment, and social stigma. Her childlike naivety, fierce determination, and fleeting moments of hope make her plight deeply relatable, even as she faces heartbreaking choices. The film explores her complex emotions, particularly when her long-lost husband returns from the war, scarred and masked. His reappearance further complicates her relationship with Jorgen, her former lover, casting a shadow of despair as Karoline’s choices narrow. Sonne’s portrayal makes Karoline’s journey unforgettable, offering a layered, sympathetic portrait of a woman struggling for control over her life.
Trine Dyrholm’s portrayal of Dagmar, the sinister candy-store owner, adds a chilling depth to the story. Initially presenting as a maternal figure willing to help Karoline, Dagmar quickly reveals her darker side, running an underground adoption agency that preys on vulnerable women like Karoline. Dyrholm’s performance balances warmth with menace, drawing viewers into her unsettling web and delivering a performance that feels like it belongs in a Gothic fairy tale. This duality, between savior and predator, makes Dagmar one of the film’s most compelling characters, a figure scarred by her own experiences yet utterly ruthless in her actions. Her ominous presence builds tension as Karoline’s hopes are dashed, underscoring the theme of betrayal by the very institutions and people meant to protect.
The film’s haunting visuals, crafted by cinematographer Michał Dymek, evoke the eerie stillness of vintage photographs, adding a timeless quality to the story. The cobbled streets, narrow alleyways, and grim interiors feel alive with history, creating a sense of place that is as beautiful as it is oppressive. Dymek’s use of light and shadow heightens the emotional stakes, reinforcing the isolation and hopelessness felt by Karoline as she navigates a world where poverty and shame leave her with few allies. Editor Agnieszka Glinska’s precise cuts add to the atmosphere, subtly intensifying the suspense with each scene. These visual and editorial choices combine to make the film a cinematic experience that is both aesthetically captivating and emotionally raw.
The Girl With the Needle is a masterful exploration of resilience in the face of adversity. While its setting may be specific, the story is universal, touching on issues of bodily autonomy, social judgment, and survival that resonate profoundly today. By focusing on Karoline’s humanity and her fight for a semblance of control, von Horn crafts a narrative that is both heart-wrenching and inspiring. Though the film tackles grim subjects, it ends with a glimmer of hope, offering a hard-won redemption that feels both necessary and cathartic. This fairy-tale-like resolution gives the audience a sense of closure, reminding us that strength and empathy endure even in the darkest circumstances.
