‘Sentimental Value’ Review: Can Filmmaking Heal a Broken Family?

November 4, 2025

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Pictured: Plenty of sentimental value (CREDIT: Christian Belgaux/NEON) 

Starring: Renate Reinsve, Stellan Skarsgård, Inga Ibsdotter Lilleaas, Elle Fanning, Anders Danielsen Lie, Cory Michael Smith, Catherine Cohen, Andreas Stoltenberg Granerud, Øyvind Hesjedal Loven

Director: Joachim Trier

Running Time: 133 Minutes

Rating: R for Language, Brief Nudity, and Suicide References

Release Date: November 7, 2025 (Theaters)

What’s It About?: Let’s just say, theater actress Nora Borg (Renate Reinsve) doesn’t exactly have the best relationship with her filmmaker father Gustav (Stellan Skarsgård). Unfortunately for her, he’s determined to make his way back into her life following the death of her mother. She at least has an ally when it comes to family affairs in the form of her younger sister Agnes (Inga Ibsdotter Lilleaas), though Agnes has plenty on her own plate with her husband and young son. So Nora will just have to make her own decisions when Gustav tries to cast her in the lead role of his new movie that he wants to film in the family house. It’s inspired by the life of his mother, who was tortured by the Nazis during World War II and eventually killed herself. Nora doesn’t really have any interest in collaborating with her dad, so instead he casts the super-famous American actress Rachel Kemp (Elle Fanning). But he’s still pretty deadset on having his daughters be an integral part of the process as he tries to fix their broken relationships.

What Made an Impression?: Fresh Despite the Familiarity: How many movies have I seen about families repairing their dysfunction, or about people making movies, or about people making movies while repairing their dysfunctions? Well, I see a lot of movies, and those subjects come up a lot in this medium, so the answer is undoubtedly: more than a few. Sentimental Value is certainly operating in deeply familiar territory, but it doesn’t feel like the same-old, same-old. Perhaps we can credit that to the deeply felt performances, the thoroughly plugged-in chemistry (especially between Reinsve and Skarsgård),the  sensitive direction from Joachim Trier, or some combination of all of the above. Whatever the formula is, it works.
Dangerous, But Ultimately Comforting: In case it wasn’t clear already, there’s a lot of trauma and anxiety in this family. And it hangs heaviest on Nora. So much so that you fear that another terrible tragedy could be looming. Indeed, Trier structures the story in such a way that you sense the tension of potential disaster inviting itself into the house just as things kick into the final gear. But then, we come in for a safe landing. It all adds up to a simultaneously invigorating and calming cinematic reward.

Sentimental Value is Recommended If You Like: Old home movies, Genealogy research, Film screening Q&A’s

Grade: 4 out of 5 Daughters

‘Saturday Night’ Seeks to Capture the Prelude to One of the Biggest Seventh Days of the Week of All Time

September 26, 2024

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I’m not Chevy Chase, and they’re not (CREDIT: Hopper Stone/Columbia Pictures)

Starring: Gabriel LaBelle, Rachel Sennott, Cory Michael Smith, Ella Hunt, Dylan O’Brien, Emily Fairn, Matt Wood, Lamorne Morris, Kim Matula, Finn Wolfhard, Nicholas Braun, Cooper Hoffman, Kaia Gerber, Andrew Barth Feldman, Tommy Dewey, Willem Dafoe, Matthew Rhys, J.K. Simmons, Jon Batiste, Naomi McPherson, Taylor Gray, Mcabe Gregg, Nicholas Podany, Billy Bryk, Ellen Boscov, Joe Chrest, Catherine Curtin, Leander Suleiman, Paul Rust, Robert Wuhl, Corinne Britti, Kirsty Woodward, Josh Brener, Brad Garrett

Director: Jason Reitman

Running Time: 109 Minutes

Rating: R for General Crudeness and Casual Backstage Drug Use, and One Unsolicited Private Release

Release Date: September 27, 2024 (Limited Theaters)/Expands October 4 and October 11

What’s It About?: As the prophet declared, “The show doesn’t go on because it’s ready, it goes on because it’s 11:30.” While that is a widely accepted maxim in 2024, a few decades ago it was met by the masses with an outpouring of skepticism. According to Saturday Night director Jason Reitman and his co-writer Gil Kenan’s telling, things were so touch-and-go that the first episode of Lorne Michaels’ brainchild barely made it to air in one piece. While the hour-and-a-half that began on the National Broadcasting Company at 11:30 PM Eastern on October 11, 1975 has since been immortalized, the hour-and-a-half that immediately preceded it was also apparently quite the transformative odyssey. And so, Saturday Night‘s log line is quite simple: the real-time chaos that led right up to the birth of one of the most famous TV shows of all time.

What Made an Impression?: Would You Accept a Wolverine in Place of the Truth?: Saturday Night is filled with an unending series of too-perfect coincidences that I don’t really have any interest in fact-checking (at least not in terms of whether or not they make for a worthwhile movie). Like, did John Belushi really refuse to sign his contract until approximately 15 minutes before the cameras started rolling? Surely that must have been sorted out days, if not weeks, earlier? I suppose it’s dramatically true enough, as Belushi was certainly known for being erratic. Some of these stunningly on-the-nose moments are kind of funny, like when Lorne has a sarcastic back-and-forth with a building employee who supposedly thinks that he’s producing Saturday night the night, as opposed to Saturday Night the TV show. But then there are similar incidents that I found myself groaning at, like Milton Berle lecturning everyone he encounters about the way that showbiz really works (although J.K. Simmons does play Uncle Miltie with the just right flavor of stunningly pompous).
Inescapable Iconography: It’s hard to imagine that Saturday Night will be anyone’s introduction to SNL. Even if you don’t watch every new episode like clockwork, you’ve surely encountered some of it through cultural osmosis. But save for a couple of semi-unavoidable bits, the movie mostly avoids the pitfall of simply recreating memes and catchphrases. Nevertheless, it isn’t like this is a completely untold story. The behind-the-scenes foibles have been recounted in numerous outlets on numerous occasions, and the characters are based on quite famous real people, many of whom are still alive. So it’s no surprise that some of these performances are mostly glorified impressions. To be fair, some of them are quite good impressions. Dylan O’Brien in particular captures the singularly rat-a-tat patter of Dan Aykroyd. Others have room to go a little deeper, especially Gabriel LaBelle in the lead, as he effectively captures the harried arrogance and earnestness of attempting to spark a revolution through television. But as good as LaBelle is, I can’t help but look at him and go, “That’s not Lorne Michaels.” It’s close, but not quite. That’s not necessarily a bad thing. But it is uncanny.
It’s Saturday Night, and You’re Not: I kind of wish that Saturday Night had gone the Weird biopic route, by maintaining some semblance of reality while obviously comedically exaggerating everything else. It certainly would have been in the spirit of a sketch show that has aired plenty of memorable parodies in its own right. Of course, it would be unfair to review it for not being something that it’s not trying to be. But it’s still fun to wonder, “What if?” As it is, we’ve got something that feels like cosplay populated by body snatchers. It’s energetic and loving cosplay, but the thrills are mostly theoretical rather than visceral.

Saturday Night is Recommended If You Like: Studio 60 on the Sunset Strip, Really sticking it to the censors, Bricks

Grade: 3 out of 5 Affiliates