What I think The Worst Person in the World has working at its advantage is how it relates us to that familiar, existential navigation of the “in between” state we constantly find ourselves questioning, where life seemingly never starts yet seemingly has all the time in the world to never end, and how both of those instinctive presumptions are a lie retrospectively despite our permanent refusal to accept it. Most of our yearns for life to start are just accumulating in the process of it rather ending, and we can’t help but refuse to challenge the notion that nothing of value worth holding onto happens during these time frames, and that the development of new time frames is in order to spark some sort of euphoric discovery before any eventual “parenthood phase” occurs — something so culturally set in stone as what continues predominantly from there on till the end, a cliché of consistency despite that being exactly what we want, except, through a more ideological lens that can somehow turn these young adult coming of age days into an otherworldly meaning to cherish onward. But everything is a byproduct of leading ourselves to new generations, and the fear to let it happen will always be there despite us rarely caring to pinpoint what’s even making our current motions worth experimenting with, as if they weren’t perfectly okay to begin with.
Ultimately, the polarity between Julie and Aksel communicates this to me, and it effectively showcases generational differences all while stating though that akin desire we have to let careers become a little bigger than what love often collides towards, as if we could ever sincerely know how big though that even is until we have it.
“The Worst Person in the World” will be released in select theaters February 4th.