The Girl With The Needle
Introduction
One of the most intriguing aspects of The Girl With The Needle, Denmark’s Official Submission to the Oscars of 2025, was the aspect ratio in which the film was shot. The 3:2 aspect ratio coupled with the monochrome images are indicative of two things very early on in the film – there is a deliberate attempt to make the drama claustrophobic and grim, which is in line with the brooding mood of the drama. The setting is the post WW1 era where the world is slowly grappling with the set of losses that have taken place until then. The worst affected are folks from the lower strata of the society featuring the protagonist Karoline who is shown to be struggling early on with her finances, almost on the verge of being homeless. There is no news about her husband who had gone to fought the war but hasn’t returned since, and presumed to be dead. It is only when a rich factor owner takes a liking for Karoline, that her life seemingly changes only briefly. Here, intimacy between the two is only used as a natural progression in the narrative, one that is inevitable in a logical perspective, even as you see the two in the act in broad daylight with passers-by being silent spectators.
Story & Screenplay
The writing of The Girl With The Needle doesn’t necessarily revel in its characters, sure the characters are there but it is the eerie setup coupled with the atmospherics that creates an atmosphere of fear and uncertainty. This is true also for regular junctures in the screenplay with respect to the character of Karoline because of the hardships that she has to face at regular junctures. If it isn’t the financial condition that she finds herself in, the sudden emergence of her husband, now with a disfigured face proves to be a potential obstacle for her, given her relationship with Jorgen, the young factory owner of textiles and sewists wherein Karoline is a worker too. And hence, her decision to move away from Peter, her husband can be viewed as a selfish step but also an inevitable one given her financial condition. Yet, the writers also offer a dual commentary on patriarchy and the widening gap between the rich and the poor, that finds a pregnant Karoline at the wrong side of the spectrum.
There are severe undertones of horror that are explored throughout the narrative. In a searing scene, you see Karoline (who is pregnant) sitting in a public bath tub with a knitting needle in her hand, ready to pierce herself and eventually kill the baby after finding herself on the streets again. Luckily, she encounters a seemingly kind-hearted lady Dagmer who not only offers her assistance but also food and shelter. Slowly but surely, the bond between the two characters grows strongly even with the presence of Dagmer’s young daughter Erena who has an intimidating stoic presence. The screenplay here offers an upbeat recovery of sorts but oddly the setting of the drama refuses to budge, being consistently claustrophobic and tense with eccentric undertones with which the drama did begin with.
I must admit that I wasn’t entirely prepared for the shock that was to follow in the third act, and that is the beauty of cinema should you choose to enter a film with a clean slate. And here that decision of mine did pay rich dividends in a fiercely twisted and chilling final act that is worth a million nightmares. Without getting into any details in order to avoid spoilers, the final act is unabashed and unhinged while the writing just doesn’t hold back even while depicting a rather relevant issue that still holds importance in today’s world. There was a genuine chill down my spine even as the capacity crowd let out a collective gasp in what was perhaps the most disturbing scene that I may have encountered in recent times. The entire proceedings that did unfold were enough to completely mess with my head given its twisted and horrific undertones, so much so that a ray of hope at the end wasn’t quite enough to stop my pondering mind long after the film had ended. The screenplay here is excellent and makes for a wonderful watch.
Dialogues, Music & Direction
The dialogues are understated and strictly conversational while being in sync with the grim setting of the drama. The BGM is a clever use of silence for most parts of the drama that creates an atmosphere of horror even while briefly resorting to alternate notes of eccentricity through the background score. The cinematography and its amazing creative decision to shoot in the 3:2 aspect ratio was brilliant, with the monochrome lighting that invariably creates a clutter in the minds of the viewers with respect to the claustrophobia that is played out. The editing is crisp and sharp with a genuine sense of coherence with respect to its transition from one scene to another. Director Magnus von Horn does a masterful job in constructing a drama that is chillingly unassuming while holding a twisted ace up his sleeves for the final outburst. The idea to hold much of the cards close to his chest was incredible, even as you are slowly invested in the journey of the protagonist and her deeds, with an already miserable setting. The direction is incredibly good.
Performances
The performances are incredibly good by the ensemble cast. Ava Knox Martin as Erena is stoic and an intimidating figure that often leaves you unsettled. Tessa Hoder as Frida makes her presence felt and she does a pretty good job. Joachim Fjelstrup as Jorgen is a character who is quietly charming but also a wimp in many ways, and this duality of his character is nicely explored through his remarkable performance. Besir Zeciri as Peter delivers an understated performance so much so that you empathize with his positioning while also being conflicted by his presence. Trine Dyrholm as Dagmer delivers an unassumingly chilling performance that does potentially mess with her head towards the end. It is a chilling portrayal of a character with no redemption and she does possess a stoic demeanor that absolute haunts you in the final act. Vic Carmen Sonne as Karoline has a range of conflicting emotions at her disposal, and she beautifully conveys her vulnerabilities that frequently shift as the drama progresses. She was remarkable in every sense of the word, making it a quietly powerful performance that stays with you after the film has ended.
Conclusion
As a part of our MAMI coverage, Denmark’s Official Submission to the Oscars of 2025, The Girl With The Needle is a chilling and twisted atmospheric drama worth a million nightmares and boasting of mesmerizing performances that makes for a brilliant watch, even as the after-effects of this lingering drama are haunting to the core.