Magnus von Horn’s film, The Girl with the Needle, makes a deliberate choice to present the entire narrative in black and white. This stylistic decision is the first element that captures the audience's attention, as the lack of colour immediately immerses viewers in cinematographer Michał Dymek's portrayal of Copenhagen during the World War One era.

The film features narrow alleyways, shadowy corners of a factory, and smoke billowing from an aged bathhouse—elements that are essential and evocative in this often nightmarish and sombre story about a woman striving to find her place in the world. Over the course of two hours, her quest, shared with the audience, will lead her to unyielding truths.

The premise

Following its recent Oscar nomination for Best International Feature representing Denmark, The Girl with the Needle presents a challenging viewing experience. The film deliberately avoids allowing the audience to become comfortable within the beautiful backdrop of its historical setting. The past is portrayed without any romanticism, confronting the brutal realities that arise from the ravages of war. Director Magnus von Horn focuses on the experiences of those who, though distant from the battlefield, are nonetheless profoundly impacted by its consequences. Within the opening moments, we meet Karoline (Vic Carmen Sonne), who has already lost her home and is struggling to survive alone while working in a local factory.

Karoline is denied the widow's compensation due to her lack of evidence regarding the presumed death of her husband, Peter (Besir Zeciri). Her romantic involvement with the factory's owner, coupled with her aspirations for a brighter future, ultimately leads to a tragic outcome. She finds herself pregnant, without a job, and without a home. It is only upon meeting Dagmar Overbye (Trine Dynholm), a local bakery proprietor who offers to assist by taking care of her baby, that Karoline discovers a glimmer of hope.

What works

However, as The Girl with the Needle emphasizes, hope resembles the fleeting glow of a candle, capable of consuming itself entirely for its own benefit. Karoline's quest for hope counterbalances her potential for malevolence, a dynamic poignantly portrayed in the nearly silent performance of Vic Carmen Sonne. Despite enduring profound hardship and loss, Sonne refrains from rendering Karoline a figure who elicits pity. Instead, she embodies a victim of her circumstances, a woman striving for independence in a profoundly unjust and self-serving society, devoid of any visible resolution.

The Girl with the Needle can be both punishing and challenging to observe, yet Magnus von Horn refrains from sensationalizing the atrocities within Karoline's narrative. His visual and auditory craftsmanship effectively conveys a sense of despair, complemented by a mesmerizing score from Frederikke Hoffmeier. The film evokes memories of Mike Leigh's Vera Drake, where the stark realism of the protagonist's domestic life generates a stifling curiosity about her future. What path lies ahead for Karoline? Who will perceive her as more than mere flesh? The true story that loosely inspires her journey is approached with a disquieting level of rigour.

While The Girl with the Needle leads the audience into dark and unsettling realms, it also presents a nuanced exploration and an unwavering faith in humanity that firmly anchors the film. It is striking, vivid, and ultimately unforgettable.

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