Deadline

Magnus Von Horn

The director of The Girl With the Needle bounces back into Competitio­n

- —DAMON WISE

In 2020, Magnus von Horn was excited to nd that his lm Sweat had been accepted into the O cial Selection at Cannes, a big step up from his debut, The Here After, which made Directors’ Fortnight in 2015. The pandemic put an end to that, but his disappoint­ment was short-lived; this year, his dark atmospheri­c follow-up, The Girl With the Needle, sees him joining the big league. “This is huge to me,” he beams. “The main competitio­n!”

Set in Denmark during World War I, the lm stars Vic Carmen Sonne as Karoline, a young seamstress whose soldier husband is missing in action. Through a series of mishaps, Karolin falls pregnant, loses her job, and meets a mysterious woman named Dagmar (Trine Dyrholm) who runs both a candy store and an adoption agency. “I’ve been developing this lm for many years,” says Von Horn, “and the starting point was a true story, of one of the most horrendous and controvers­ial crimes in Danish history. I don’t want to spoil things by explaining exactly what that was, but it was a story that provoked me very deeply. At rst, I couldn’t see a way to tell that story, in a way that wasn’t just exploiting the matter, or in a way that would be meaningful. That’s very much when the idea of the main character came in, and her journey through poverty, looking for a better life in post-world War I Copenhagen. I began to think, How much do we want a better life? And what price are we prepared to pay for that?”

Now based in Poland, where he graduated from Łódź Film School in 2013, Von Horn has always pursued a career in lm. “I’ve made lms since as long as I can remember. I tried many di erent things in art—painting, poetry, and music—but lmmaking somehow clicked with me. I don’t know exactly why, but I do know that when I look back on the lms I did as a teenager, they’re more or less exactly the same as the lms I’m making now, thematical­ly. There are certain kinds of stories that attract me, often with a darkness that I think I can express in lmmaking.”

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