Issue link: https://digital.copcomm.com/i/1539634
4 6 P E R S P E C T I V E S E P T E M B E R / O C T O B E R 2 0 2 5 These words—spoken in voice-over—open Sentimental Value. The film begins with a montage sequence based on a school paper Nora (Renate Reinsve) wrote when she was twelve. Her choice to embody the house instantly establishes it as a central character—one that observes, absorbs and carries the emotional traces of the people who live inside it over time. After graduating from The Norwegian Film School in 2010, I was given an extraordinary opportunity: designing my very first feature film with Joachim Trier. That film was Oslo, August 31st, written by Joachim and Eskil Vogt. It's rare to encounter such a beautifully crafted script so early in one's career—I loved it instantly. Joachim is an intelligent and ambitious filmmaker, deeply knowledgeable and with a genuine love for cinema. For many years, our paths diverged, though we always followed each other's work. Then, in March 2024—right in the middle of my artistic research for a PhD in production design and virtual production—I A R e t u r n t o t h e H o u s e W h e r e I t A l l B e g a n S E N T I M E N T A L VA L U E B Y J Ø R G E N S TA N G E B Y E L A R S E N , P R O D U C T I O N D E S I G N E R "When Nora was in sixth grade, she was given a writing assignment to be an object. She knew immediately that she wanted to be their house." A. FAMILY HOUSE LOCATION. FILM STILL. A