Sundance Film Festival 2022: FRESH And THE WORST PERSON IN THE WORLD

There will likely never be a time when romance and relationships aren’t explored in cinema, and the 2022 edition of the Sundance Film Festival is certainly demonstrative of this idea. While the following two films are vastly different form one another, both are astute studies of how we view relationships in the 21st century. Mimi Cave‘s Fresh is set to shake up the world when it gets its eventual release into the mainstream, whereas Joachim Trier’s The Worst Person in the World has already taken the world by storm during its very illustrious 2021 festival run. Both films are demanding of one’s attention.

Fresh (Mimi Cave)

Dating in 2022 can be a scary thing, and with Fresh, Mimi Cave has crafted a creatively charged thrill ride that is equal parts romantic and horrifying. As a directorial debut, Cave makes an astounding entrance with articulate poise and confidence in her creative choices. The film tells a gripping story that has just the right inflections of humour, while never flinching away from taking aggressive swings that are blissfully imaginative. Daisy Edgar-Jones and Sebastian Stan deliver performances that are on par with the film’s inherent intensity, resulting in one of the most engrossing narratives at the festival this year.

Like many of her contemporaries, Noa (Edgar-Jones) spends her days swiping through matches on dating apps, only to find herself strung into one charmless date after another. During this stretch of unceremonious matches, she meets Steve (Stan), who woes her after a seemingly random encounter in a supermarket. Thinking that she has met the right guy, in the traditional manner, Noa convinces herself that things are going great with this mysterious and charismatic being. That is, until things aren’t so great anymore. Fresh also boasts a strong supporting cast that includes Andrea Bang, Jojo T. Gibbs, Dayo Okeniyi and Charlotte Le Bon. And with a film like this, the less one knows, the better. But let’s just say that this is far from your typical modern day dating story.

And with a rather intriguing premise, Cave sets the tone perfectly in creating an ambiance that is capable of being extremely flexible. Bouncing between moments of comedic jabs to stretches of terrifying tension, Fresh adapts like water, taking on the right form in the most fluid of motions. And no matter where the narrative ends up going, there’s a sense of romance that always seems to linger in the background. This sense of romance isn’t necessarily reflective of a loving relationship, but still rings true of the sensual force shared between two people. And that force, as we all know, isn’t always a positive one.

In fact, the film makes an impactful statement on how women are often treated as commodities by men, and demonstrates this with superb instinctual creativity. Cave might be going for an extreme take here, but through her assured stylistic choices, a thoughtful worldview is presented in an overly affecting way. Her use of framing, Alex Somers’ searing score and Pawel Pogorzelski’s sharp, yet muted colour palette supplement the film’s delivery of well-organized madness.

Edgar-Jones also makes her first feature film appearance since exploding onto the scene with 2020’s Normal People, and continues to prove herself as a true force of talent. Stan steps out of his comfort zone, particularly for viewers who might associate him with his turn as Bucky Barnes (or the Winter Solider) in the Marvel Cinematic Universe. In addition to chewing up the scenery when needed, Stan also brings a certain level of menace to the role that is endearingly creepy.

Without sounding too on the nose, Fresh is for all intents and purposes, a refreshing new take on the modern dating narrative. Cave doesn’t just examine the intricacies of dating, but also envisions a purposeful dissection of how women and often viewed by men, and the horrific tendencies that come along with that flawed perspective. This is a searing example of sharp and intelligent filmmaking at its very best, and just happens to be intensely entertainment as well.

The Worst Person in the World (Joachim Trier)

As a modern-day relationship drama, it’s hard to think of another film that is as perfect as Joachim Trier’s The Worst Person in the World. Weaving together a story that parses through the complexities of falling in love not only with the right person, but also at the right time, Trier stretches the cinematic medium to create an emotionally sound experience that is full of wonder and energy. The film isn’t all rainbows and butterflies, but is nothing short of a joyful experience that surely qualifies as one of the most charming narratives about love in recent memory.

Told in twelve parts, with an added prologue and epilogue, the film follows Julie (Renate Reinsve), a charming girl in her late 20s who is going through a crisis of identity. As a successful medical student, she makes a split-second decision to pursue psychology, only to abandon that for photography shortly after. Being non-committal in her life choices also pushes her away from forming any long-term relationships, until she meets Aksel (Anders Danielsen Lie), a comic book writer with whom she shares a 15 year age gap. As that relationship blossoms in a stable way that Julie would’ve never imagined, she then forms an unexpected connection with a local barista, Eivind (Herbert Nordrum).

What sets The Worst Person in the World apart from other films that aim to unravel the mysteries of modern-day romances is the fact that Trier never attempts to overly modernize the story. While there might be brief glimpses of dating apps, and the film’s central thesis surrounding millennials’ affinity for overbearing indecisiveness is quite modern by definition, this is far from a new-age story that targets a specific age group. Instead, Trier takes very modern ideologies surrounding love and relationships and presents them in a manner that feels universally sound. His take on the often tragic essence of timing is particularly apt, with bold stylistic choices throughout the film that never feels like a blunt hammer over the head. The voice over narration, in particular, adds a dream-like sensibility to the narrative and really encompasses Julie’s unfulfilled sense of living in the moment. Trier doesn’t overuse it, and as a result, these moments help ground Julie’s experiences, rather than distract from them.

The film is undoubtedly anchored by Reinsve, who delivers a magnetic performance that constantly swings between tenderness and heartbreak. Her command of the screen is simply mesmerizing, which is no easy feat given that her character Julie has more than a few imperfections. Whether she’s staying still or running through the city streets frozen in time, Reinzve never seizes to illuminate with her affecting screen presence. Lie, who also starred in Trier’s other ‘Oslo Trilogy’ entries, shines through as one of her flawed counterparts, who demands sympathy as a flawed partner.

The Worst Person in the World isn’t a typical love story, but it’s really one of the most honest and thoughtful examinations about what love means, and how we pursue it. Trier continues to establish himself as a virtuous director, and Reinsve delivers a performance for the ages, which like the film itself, is endlessly watchable.