Joachim Trier on Memory, Trauma, and the Fairytale Appeal of ‘Thelma’

In the course a decade, Joachim Trier has liked to set the bar high. With 2006’s Reprise marking the start, each film has proven more ambitious than the last; his latest, Thelma, continues that trend. It eschews Trier’s quietly dramatic, naturalist approach that characterizes previous works — and that came to a head in 2015 with the ambitious, American-made Louder Than Bombs — and instead finds him venturing into uncharted territories with a genre-blending mix of erotic thriller, supernatural horror, and coming-of-age films.

I found it to be among the best of the main-slate offerings at this years’ New York Film Festival — but, as our review can speak to, how much it succeeds might ultimately depend on your temperament. Whatever your stance on it, Trier’s ambition is palpable, and Thelma contains every reason to be excited for the new directions his career will take in the future.

We spoke to Trier
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