La chica de la aguja

Yes, it is a little slow in its pace and one needs to get used to the rhythm of the film. That said, it is probably watched without any distractions in the cinema, not at home with a smartphone nearby.

The movie itself is a strong remnider of how rigid and cruel social norms and legislation can be. What I really liked was the ambivalence of the characters portrayed. The evil in the world didn't stem from some fetishised indidivual background, but from the power of capital - after all, it is the material inequality, displayed by the true villain of this movie, the mother of the rich fabric owner, which lays the ground for individuial cruel action. A more equal society would have not give birth to needs such as killing the offsprings of the poor and forgotten.

When rating watched movies, i always feel like there's something could be done differently or better, so even for "very good" movies i give 9 star.

This is my first 10 star rating. It's a perfect movie.

It's quite difficult to describe it as the whole movie has so many layers. It was emotionally on the edge and nervewrecking, very painful to watch. Even when you start to see the faint ray of hope, it soon vanishes brutally. But that's how the life was after the WW1. Povetry and broken people.

It was also visually gorgeous, eventhough there's nothing gorgeous in that movie.

Highly recommended, but not for snowflakes.

Magnus Von Horn's powerful film inspired by true events, beautifully composed in black and white. This Danish-Polish-Swedish co-produced film demonstrate aesthetics definitely from couple of possibly sources from German expressionist to film noir genres.

The story surrounds a young woman, Karoline (played by Victoria Carmen Sonne) who begins a new life in the city, coming from the surges of the World War era or "Great War". Her husband was considered a war casualty thus begins a new romance leading to a unexpected pregnancy.

Not winning approval of the relationship with her wealthy lover's family, she in unknown depression figures to do away with the unborn. She befriends Dagmar (played by Trine Dryholm) and her daughter Erena, decides to continue to birthing a child for "adoption" option.

This storyline with plot twists and tropes goes into complete darkness with murders, drug addition and human trafficking. It was inspired by 1921 serial killer, Dagmar Over by who murdered numerous infants. This film show try show, in some troublesome way in humanizing these crimes, letting the viewer debate on the killer's motivation.

Brilliantly directed with top-tier performances by both Von Somme and Dryholm along with exceptional soundtrack, to create emotional and anticipation tension. It's monochromatic visual are such sights to view the gritty aspects of urban 1920s life, some much dramatic.

Its visceral richness, presents an insight even to subcultures developing at the time from circuses and their side show, showing the "freaks" of nature. It challenges the intimacy of motherhood, somehow showing it underbelly of darkness.

Van Horn's handling of actual event information into a fictional account is truly astonishing, great detail paid to the era's tradition and domestic customs. This film is being marketed as a psychological horror film but it's more of an emotional portrait of human conflict, sparked by a gender political discourse.

I didn't know what the story was about, so everything was a surprise to me. There are some shocking scenes that at first that made me dislike this movie a lot. But at the end, and when I realized it was based on a true story, it made me reflect on human nature, who the real monsters are, how our lives are impacted depending on our social economical situation and how there are good people even when we judge them at first by their appearance or their small bad behaviors. It is a movie that makes you reflect, and it will stick to your mind for some time, I believe. It is worth a try, I would not indicate it to everyone, some people will think it is unbearable to watch.

"Inspired by true events." Four words that will knock the wind out of your lungs as the film fades to black.

In the dirt and smog of 1919 Copenhagen emerges this atmospheric, haunting portrait of one woman's descent into the grim reality of impoverished motherhood.

In the age of short attention spans that are worringly shortening, von Horn's dark film may be a little slow for the average modern movie goer. But for those who can engage with it, what awaits is a black and white cinematic feast with imagery reminiscent of silent movies that is both a treat for the eyes and a dagger to the heart.