Abstract
The appearance and agency of the most prominent female characters in Joachim Trier’s films are analysed with reference to a study of gender relations in early New Wave cinema. Trier’s female characters emerge as strong and independent; at the same time their mild, non-threatening demeanour and appearance effectively disguise their agency. While the first three films sympathize with their female characters, Thelma is deeply ambivalent, either revealing or sustaining misogyny.
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