TIFF ’24 Review: ‘The Girl with the Needle’ is the result of limited options
‘The Girl with the Needle’ tells the story of an infamous serial killer through the eyes of a woman who embraces her help.
Before contraception, there were not many options for preventing unwanted pregnancies. Biologically, women are destined to bear the brunt of the consequences and, in some cases, find a way to deal with them. With no accessible or legal methods of terminating a pregnancy, mortality rates for women and their potential offspring are high. Yet, desperation can make her feel like there are no other options, making the risk seem more acceptable than the birth. In The Girl with the Needle, a seamstress’ pregnancy leads her to seek the help of someone who offers to solve her problem for a nominal fee.
It’s 1919 and after a year without word, Karoline (Vic Carmen Sonne) assumes her husband, Peter (Besir Zeciri), died in the war. But without a death certificate, she cannot collect widow benefits from her employer (Joachim Fjelstrup). However, they require no paperwork to pursue their attraction to each other. He buys her nice things and promises to marry her when she becomes pregnant — a vow his overbearing mother ensures he breaks. Alone and expecting, she’s prevented from taking extreme measures by Dagmar (Trine Dyrholm), who offers to help find the baby a foster family after it’s born through her underground adoption agency. Once her own problem is resolved, Karoline asks to work with Dagmar to help other women in similar situations.
The film is based on a true story from Denmark. Shot in black and white, it feels more like recorded history, better capturing the artistic aesthetic of the era. Co-writer and director Magnus von Horn even pays homage to early cinema with some of its framing, such as the work of Fritz Lang and “Workers Leaving the Lumière Factory.” The contrast is stark, emphasizing the poverty that permeates every moment and the seediness of their transactions. The absence of colour also creates a separation between the viewer and the images on the screen, which can be very difficult to watch at times. Yet, the narrative is engrossing as Karoline seemingly self-destructs while feigning good will. Having been rejected herself, she’s cast off her child and disfigured husband for a life in which she’s required to make few decisions and can constantly be reminded of her mistakes.
While comprehensive medical care was lacking at the time, self-medication was abundant. Opiates like morphine were a popular choice, while ether and the like were available more freely. Moreover, the lack of contraception or safe abortions left desperate women to take matters into their own hands, and often die due to complications and inexperience. Similarly, unwanted children abound, crowding orphanages, and keeping women like Dagmar in business as there were few alternatives and she promised a good life for the infant. Obviously, there are legal implications to all of this, but it seems as if police turn a blind eye for the most part.
The film’s title has dual meaning as the narrative consists of a series of revelations that range from disappointing to heartbreaking to unbearable. Karoline can’t seem to catch a break as each time she becomes complacent, another shoe drops to interrupt her contentment. Although this is Karoline’s story, it is also the tale of Dagmar, one of Denmark’s most infamous killers, through her eyes. Both actresses are exceptional, portraying these women enduring difficult situations and finding a delicate kinship in their struggles.
The Girl with the Needle had its North American premiere in the Special Presentations programme at the Toronto International Film Festival.
Read other reviews from the festival.
Director: Magnus von Horn
Starring: Vic Carmen Sonne, Trine Dyrholm and Besir Zeciri
