Humor, Beauty, and Astounding Sadness in “The Worst Person in the World”

Dishing out prizes for movies—for making them and performing in them—is a nonsense, and the effort to pretend otherwise becomes a little harder every year. The only way to treat the Golden Globes is with bleach and a scrub brush, and getting excited about Oscar night is like looking forward to elective surgery. Now and then, however, justice is served, and somehow the right person winds up with the right accolade.

Yet Julie is quite capable of taking herself by surprise, and of branching off down unfamiliar paths. We see her, as a student, switching from medicine to psychology on a whim, and from blond hair to pink; she then settles on photography, and awaits the next unsettling. It arrives in the early evening, at the magic hour, as she wanders out of one party—a book launch for Aksel, who writes graphic novels—and into another, to which she hasn’t been invited.

What’s admirable is the nerveless way in which Trier takes his cue from his heroine, showing formal solidarity with her as she comes to realize that freedom can be frightening. The whole film is Julie-shaped. It shifts and darts, trying out different tactics for a while and then letting them slip. Thus, as men and women dance one night, the camera cavorts in their company, whereupon we cut away to a glimpse of them from outside, through a large expanse of glass.

To extract full value from “The Worst Person in the World,” one should approach it as the concluding panel of a triptych—the Oslo trilogy, as it is informally known. The two earlier parts, both directed by Trier, are “Reprise” and “Oslo, August 31st,” which were released in the United States in 2008 and 2012, respectively.

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