The sentimental value could bring Renate Reinsve and Stellan Skarsgård to the Oscars

It will be difficult for the academy to resist “sentimental value”.

After having finished as a finalist of the Palme d’Or at the Cannes Film Festival of this year and now, making a quietly delightful North American start to Teluride, the Norwegian drama of Joachim Trier “Sentimental Value” promises to be a formidable player in the best image of this year.

A tender exploration but little equipped with generational trauma, creative heritage and emotional heritage, “sentimental value” of the return of neon Marks sorting after his triumph nominated to the Oscars “The worst person of the world” (2021), which won him an original scenario appointment. Co-entrusted once again with the longtime collaborator Eskil Vogt, the last project of the Norwegian author reunites with Renate Réinsve, the star of the rupture of “the worst person of the world”, and presents a powerful set, in particular she Fanning, Inga Ibsdotter Lilleaas and the attention of the underemployed act.

With a neon looking at a full reward thrust, the objective will be downright on Reinsve and Skarsgård, whose turned turned turned by criticism as an outstretched father-daughter duo could make them the first nominees of an actor of the Oscars for the increasingly global performance of the Norwegian.

Reinsve, who has obtained a nomination and acclaimed the BAFTA for her work as Julie in “The worst person in the world”, delivers what many already call her best performance to date. As Nora Borg, a stage and television actress at the end of the thirties who returned to the family’s home in Oslo after the death of her mother, reintegrates a rich and emotional terrain – long -term sorrow, personal recalibration and hesitant reconciliation with her father. Even the director of the Tellurid Festival, Julie Huntsinger, said Variety This kidneys was on the restricted list to receive one of the very popular tributes from the festival: “She could very easily have had [a tribute] of us this year – and she will [eventually]. She is extraordinary.

Friday, at the boss brunch, before the official start of the festival, Variety shared Huntsinger’s comments on the fact that she was considered for a tribute with Reinsve. Surprised by the news, and after a neon representative explained it more, Reinsve, 39, was visibly moved and began to tear. “I have never seen that no one is so excited to have almost received a prize before,” joked the neon representative.

Fixing the charm of the kidneys in person, it can an undeniable trait and key of the family drama. And while performance is subtle in delivery, it offers an imposing gain, which can be compared to former Oscar candidates like Charlotte Rampling in “45 years” and Penélope Cruz in “Parallel Mothers”. What could have been a silent and internalized role becomes, in the hands of Reinsve, a fascinating portrait of a woman who counts with identity.

If she won a name for the best actress, Réinsve would not only make history for a Norwegian language performance, but would join the ranks of an increasing number of non -English contenders who recently penetrate into the category. Last year, the Academy honored two in the category with Karla Sofía Gascón (“Emilia Pérez”, in Spanish) and Fernanda Torres (“I am still there”, in Portuguese), signaling a change in the opening of voters to international turns.

Then there is Stellan Skarsgård, long considered one of the actors of the most reliable characters in international cinema, of his work with Lars von Trier. In “sentimental value”, he plays Gustav Borg. A retirement director and once this-Celbrate is with obsolescence, regret and even inheritance of which Nora does not want to be part.

In a career turn which remembers the winners supported like James Coburn (“affliction”), JK Simmons (“Whiplash”) and Alan Arkin (“Little Miss Sunshine”), the melancholic spirit of Skarsgård and raw vulnerability could easily conclude agreements with the voters of the academy. The performance is rich in metatext – a commentary on aging filmmakers, the burden of artistic heritage and the very idea of ​​cinema as a heritage – a theme that the Academy has historically adopted. Think of the best winners of the film such as “The Artist” (2011) and “Birdman” (2014), and nominees like “The Fabelmans” (2022), “La la Land” (2016) and “Once Upon a Time in … Hollywood” (2019) – All the films that focus on Moviem and found a service to voters.

Let us not forget … After the historic victory last year of Zoe Saldaña – the first interim Oscar for a support performance in an international nomine (“Emilia Pérez” reappromised in France) – there is now a precedent for Skarsgård to overcome a similar wave.

Among the quietest and most moving turns of the film are the performance of Elle Fanning as Rachel, a famous American actress with Gustav’s latest film. FANNING – A young interpreter admired for a long time for his precision and her emotional intelligence on the screen – brings silent pain and a layer back to the role. Having flirted with the recognition of the Oscars for more than a decade, from her break in “SomeWhere” by Sofia Coppola to her recent work in “A Complete Unclub” by James Mangold, Fanning proves once again that she is one of the most regular actors of his generation. And with the category of the support actress known for having honored several artists of the same film, it would be unlikely to count the Lilleaas Inga Ibsdotter Inga Ibsdotter, which embodies Nora’s sister and offers an impact in tears and resonating in the final scenes of the film.

“Sentimental Value” was presented in competition in Cannes, where he came as a finalist of the Grand Prix to “It was accident” of Jafar Panahi. “The warm welcome of the film was resumed in Telluride, where Trier, Reinsve and Skarsgård participated in packed post-screen questions and answers, receiving standing ovations from the public and members of the Academy present.

With a neon positioning the film as an official submission of the official Oscars of Norway for the international feature film and a wider campaign player, the “sentimental value” could be the most nominated non -English -speaking film this year. Given the pedigree of the film. And the way he draws from the Sweet Spot of the Academy for Personal Stories, Art-Mets-Life, do not be surprised if Trier and Vogt find themselves again in the original range of the scenario (and in the running for their first trophy).

Although it remains at the start of the season, the signs have been clear since its beginnings in May: “sentimental value” is not a silent European chamber room. Its light central performance, as well as the creative Pedigreed team and the resonant themes, could create a viable competitor not only in international functionality but in all categories.

Maybe Fanning was right in Cannes when she said – “Joachim Trier Summer”.