Prologue

When I think of the movies that move me the most, they’re usually a seamless blend of artistry/surrealism/symbolism and mundanity/relatability. Something that feels close to home and abstract at the same time. TWPITW hits my favorite balance. 

Chapter 1: “Joke” About How I Felt Seen by the movie Titled “The Worst Person in the World”

As a woman nearing 30, lost, obsessed with feelings, child free, and in love with love even though I ruin most things before they have a chance: I quickly said oh fuck

Chapter 2: AMC Armchair Psychologist

I think this film works because of how well it characterizes. I felt like I fully understood every character and how they felt before and after every choice, even with minimal exposition. Especially Julie. If I can be so bold as to insert myself, Julie fears things out of her control. Fueled by the benign narcissism of self discovery, she seeks what sparks her. She craves the intersection of cosmic fate and serendipity. She pokes and prods people to bend them to her, if they refuse to yield, she abandons. No one can meet her expectations because she doesn’t even know what they are, she just knows how she feels in the moment and some moments feel too right to ignore. She wants to be seen by others exactly the way she sees herself. 

Chapter 3: I love Cartoons

The small amount of animation was engaging. Also I fully belly laughed at Aksel ranting about his character as “a rebel against the bourgeoisie” as Julie dissociated at the dinner table.

Chapter 4: The Time Stop Scene

The time stop scene!!!!!!!!!

Chapter 5: The Waters of March

Every song was perfectly utilized and energized every scene it could. I drove home from the theater crying to Garfunkel. 

Chapter 6: The Part Where I Say I Loved It and You Get To Stop Reading

I loved this film. I don’t know if I’ll ever be able to objectively love movies where I feel understood (and critiqued,) but this has to be one of the best.

Epilogue 

#FreeTheButthole