“I Shed Many Tears”: Cinematographer Kasper Tuxen Discusses the Emotional Connection with Joachim Trier’s Cast

      In Joachim Trier’s Sentimental Value, a father seeks to reconnect with his estranged daughters through a film project he wishes to create. Gustav (Stellan Skarsgård), a well-known director, returns to Oslo following his wife's passing. His daughters Nora (Renate Reinsve) and Agnes (Inga Ibsdotter Lilleaas) are hesitant to participate in his new venture.

      The narratives unfold with Trier's characteristic precision and sensitivity, qualities that are reflected in Kasper Tuxen’s cinematography. Tuxen needed to find inventive ways to portray Gustav’s previous films, recreate the lengthy takes described in his latest script, and encapsulate the shifting family dynamics among the three distinct characters.

      Tuxen has previously worked with directors such as Gus Van Zant, Ali Abbasi, and Mike Mills. His efforts on Trier’s The Worst Person in the World earned him the Silver Camera award from the International Cinematographer’s Film Festival.

      We talked at the 2025 EnergaCAMERIMAGE festival, where Sentimental Value received the Audience Award.

      The Film Stage: After The Worst Person in the World, do you believe you’ve developed a visual language with Trier?

      Kasper Tuxen: Absolutely, but that’s also influenced by Trier’s collaboration with Jakob Ihre, who filmed his student works and first four feature films. A scheduling issue made Jakob unavailable when Worst Person was finally set to shoot. I attribute much of their past work to my influence—that’s part of what Joachim likes and reflects in his films. I often reference the café scene in Oslo, August 31st as a perfect example of captivating cinematic moments that can occur without dialogue, solely through camera movement.

      In some ways, capturing the narrative seems more crucial than establishing a distinct style. It’s about creating a realism that keeps viewers connected to the material.

      I agree. It’s character-focused. Everything hinges on feeling a connection, rather than a detachment from the characters. The language I help create is a blend of something very genuine, along with an appreciation for traditional filmmaking. It oscillates between formal dolly shots with long lenses and handheld shots where it feels like you’ve caught a moment unexpectedly. It’s both controlled and teetering on the brink of chaos.

      Photo by Mats Høiby / Christian Belgaux

      Like the opening scene in Sentimental Value, which shows Nora’s stage fright at her theater debut. That was some of the most exhilarating cinema I’ve witnessed this year. You achieved an authentic, spontaneous feeling.

      Everything is meticulously planned and rehearsed. Joachim conducts extensive rehearsals and revises the script based on them. I try to attend many of those rehearsals to familiarize myself with the nuances that lie between the script's lines, understand the actors' potential challenges, and observe all the notes and modifications. One of the highlights of my role is to hear Joachim’s feedback to the actors and to see how that evolves. Between that and the preparation leading to a take where everything comes to life, it’s up to me to ensure we capture all that work and truly connect with it.

      The theater scene was highly rehearsed. It posed some challenges since we were invited into a national theater that was hosting multiple shows. It was difficult to remove their design and set pieces. We had to come in on weekends to set up, devise lighting plans, and hang film lights. We couldn’t rely on the theatrical lighting since the blue light backstage wasn’t sufficient. Additionally, we had our own production we were staging. We ended up incorporating several film lights because the theatrical lighting didn’t flatter skin tones as well as 35mm.

      What camera package did you use?

      We utilized the same camera and lens setup as in Worst Person: Arricam LT (Lite) and Cooke 5/i lenses. They are stunning—clean, fast lenses with a bit of character. I’m not a fan of adding filters in post. If we desire some softness, it should come from the lens itself, not a filter in front.

      We had a lengthy preparation period, which allowed for numerous test days to refine our looks. We had a contemporary story interwoven with historical elements, each requiring specific approaches. Julien Alary, who has worked on coloring all of Joachim’s films, was also involved during the prep.

      Returning to the theater scene: did you operate the camera?

      I did, but that scene was one of the few instances where we required two cameras. My friend Pål Ulvik Rokseth—a talented DP who has worked with directors like Paul Greengrass—was available between his projects. He has a history with Joachim, dating back to when he was a loader on Reprise. He assisted during the theater scene.

      How did you engage with Renate Reinsve for that scene, which demands a portrayal on the brink of hysteria? You can’t expect her to just repeat takes.

      Having now worked with Renate as the lead on two films