The Worst Person in the World (2021)

Copeman finds the film wistful, warm and deeply affecting. He singles out Renate Reinsve’s charismatic, relatable performance as the reason Julie’s mistakes never make her seem villainous.

Bradshaw calls the film a tender, funny and beguiling romantic coming-of-age story, an instant classic. He especially praises Renate Reinsve’s sensitive, sympathetic performance and says it makes her a star.

Kemp calls the film a truthful, tender masterpiece and finds its portrayal of love and growing up deeply affecting. She especially praises Renate Reinsve’s tour-de-force performance and the film’s naturalistic, wise script.

The critic calls the film a sweet, funny, keenly observed character study and suggests it could become a future classic. She particularly praises the central trio’s chemistry and the film’s sharp, truthful dialogue.

Chang finds the film charming, wistful and tender, praising its empathetic portrayal of Julie’s changing sense of self. He singles out Renate Reinsve’s thrilling, quicksilver performance as the film’s center of gravity.

The critic sees the film as a lively, affecting restoration of the romantic comedy that makes familiar themes feel significant again. Renate Reinsve’s nuanced performance is singled out for giving Julie a sense of depth and subjectivity.

Lodge calls the film a lovely, wise paean to unrest and indecision. He especially praises Renate Reinsve’s fluid performance and the fragile chemistry she shares with Anders Danielsen Lie.

Bastién finds the film piercingly observant, openhearted, and emotionally rich. She especially praises Renate Reinsve’s layered performance and Anders Danielsen Lie’s moving portrayal of Aksel.

Dowd finds the film an exciting, stylish portrait of the confusion and choices of adulthood. He praises Renate Reinsve’s performance and the tender, well-written romantic scenes, while noting that one drug-trip sequence misses the mark.

O'Sullivan finds the film occasionally aggravating but ultimately profound and magical. She especially praises Renate Reinsve's expressive performance and the film's playful, earthy humor.

The critic presents the film as a lively, energetic portrait of a woman searching for meaning. They single out Renate Reinsve as a revelation.

Ehrlich finds the film vibrant and engaging, though its final act feels less compelling and overly conclusive. He especially praises Renate Reinsve’s nuanced performance and the sequence where time stops as Julie runs through Oslo.

Lane finds the film beautiful, funny, and moving, though sometimes annoying, with sadness that lingers after the story ends. He especially praises its formal inventiveness in mirroring Julie’s unsettled search for freedom and identity.

Ide presents Trier’s film as a bold Palme d’Or contender. The standfirst singles out his willingness to throw caution to the wind and the film’s place as the final part of his Oslo trilogy.

Mintzer finds the film a compelling, melancholy return to form, though its stylistic flourishes can feel showy. He particularly praises the emotionally powerful reconciliation between Julie and Aksel, carried by Anders Danielsen Lie’s performance.

The critic finds the film a supple, fleeting delight, while questioning its indulgence toward Julie and its narrow perspective. Reinsve’s finely observed, effervescent performance is singled out for praise.

Newland finds the film’s portrait of modern love and alienation ultimately cold and its romanticisation of uncertainty tired. She praises Renate Reinsve’s radiant, physically expressive performance as Julie.

Bonaime calls the film a near-perfect, moving coming-of-age story and a phenomenal statement on life and love. He especially praises Renate Reinsve’s performance and Trier’s inventive way of depicting Julie’s inner life.

The review finds the film dynamic, funny and ultimately empathetic, with a wistful turn in its second half. It especially praises Anders Danielsen Lie’s moving performance as Aksel.

The critic finds the film a warm, melancholic anti-romantic comedy, though its fragmented portrait can feel emotionally distant. She especially praises Renate Reinsve’s performance and Anders Danielsen Lie’s shattering turn.

The critic finds the film warm, intelligent, and consistently engaging, with a strong lead performance. She especially praises Renate Reinsve’s portrayal of Julie and highlights the film’s inventive visual sequences.

Zigler finds the film invigorating and exceedingly kind, though its late turn feels too tidy for its fragmented storytelling. She especially praises Renate Reinsve’s gentle, sharp performance as Julie.

The critic finds the film charming, appealing, and full of unfolding delights. They especially praise Renate Reinsve’s standout performance and the film’s lively depiction of Oslo.

The critic finds the film beautifully constructed, balancing identity-seeking with the sense that each life is one link in a longer chain. She singles out its lingering melancholy beneath the funny, fast-paced moments of everyday chaos.

McCarthy finds the film sharp and poignant, though it loses some edge and becomes more conventional in its latter stretch. He praises Renate Reinsve’s vibrant performance and the inventive, intimate scenes that capture life’s fleeting moments.

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