Roughly an hour into "The Girl with the Needle", there's a moment so shocking it "elicited gasps of outrage" across the cinema, said Kevin Maher in The Times. All at once, Magnus von Horn's "gripping story of female struggle" in post-WWI Copenhagen transforms into "one of the most disturbing gothic horrors of recent years", a disconcerting study of "living terror and the darkest amorality".
Vic Carmen Sonne gives a "phenomenal, feral" performance as Karoline, a seamstress who finds herself pregnant, unemployed and without a home, said Wendy Ide in The Observer. A "chance encounter" with Dagmar (Trine Dyrholm), who runs a sweetshop and backstreet adoption agency, offers a glimmer of hope. But hope, like everything in this "horribly compelling" film, is "threadbare, undernourished and rotten to the core".
Von Horn's "dark and scorching" film "draws a grim true story from the Danish capital's past and spins it halfway to a Grimm one", said Robbie Collin in The Telegraph. The Swedish director records Karoline's "spiralling hopelessness" with "steely exactitude" and Dyrholm is "terrific" in the "tricky" role of Dagmar.
Cinematographer Michal Dymek and production designer Jagna Dobesz have conjured up an unsettling gothic world of "winding cobblestone streets" and "Escher-like staircases" shot at "skewed, anxiety-inducing angles", said Catherine Wheatley in Sight and Sound. As the film draws to a close, "what lingers in the memory is the stench of fear and the shuddering horror of this rotten world, which might not, after all, be so far from our own". |