I'm a film editor (PØRNI, HARAJUKU, THE TOWER, NATT TIL 17. & UNGE LOVENDE), and creator/editor-in-chief of @Montages, Norway's finest film magazine.

Norway
Joined May 2008
Karsten Meinich retweeted
Den norsk-rumenske filmen FJORD vant nettopp Gullpalmen i Cannes! Regissør Cristian Mungiu tok dermed hjem sin andre Gullpalme, mens norske co-produsenter, skuespillere og filmarbeidere kan feire en historisk norsk Gullpalme! Vår ferske nyhetssak her: montages.no/nyheter/gullpalm…
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Karsten Meinich retweeted
Norway setting a record for golds at the Olympics ... Bodø/Glimt beating Inter Milan in the Champions League ... the stage is being set for SENTIMENTAL VALUE to pull a Best Picture upset at the Oscars
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Here's your first look at BUTTERFLY with Renate Reinsve in her first new role after SENTIMENTAL VALUE. BUTTERFLY is the new film by director Itonje Søimer Guttormsen – a great talent and Norwegian cinema’s best kept secret. World premiere at Rotterdam IFFR —first image revealed:
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1/ Just read Dag Sødtholt’s brilliant analysis of Joachim Trier’s "Sentimental Value" on @Montages — it revealed layers of the film I hadn’t noticed before. The detailed essay traces subtle patterns in the film’s motifs and themes that linger long after watching. [🔗below.]
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3/ It’s the kind of analytical, curious film criticism that enhances a work of cinema instead of just explaining it. If "Sentimental Value" stayed with you, I think this essay will too. Thoughtful, precise, detailed and meticulously written. 🔗Recommended: montagesmagazine.com/2025/11…
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BONUS: Like this incredible discovery, that when you know the same house was used as location by Trier in "Oslo, August 31st" (2011) as well… realizing that Sødtholt has discovered a picture hanging on the wall, at the same spot, in both films… but different time periods… 😵
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Karsten Meinich retweeted
🎧 NY PODKAST: I denne eksklusive episoden møter vi Joachim Trier til en lang og detaljert samtale om AFFEKSJONSVERDI, med fokus på filmens tematikk, hans arbeid med visuell form og Triers utvikling som regissør etter seks spillefilmer over to tiår: montages.no/2025/11/filmfrel…
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The whole crew of Joachim Trier's SENTIMENTAL VALUE is on the red carpet, entering the awards ceremony. If the film wins the Palme d'Or it'll be the first for a Norwegian feature film. (Short film SNIFFER won the Palme d'Or in 2006) Trivia: Maria Ekerhovd is the producer of both!
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Karsten Meinich retweeted
Some of the films I hear will get major prizes at Cannes tonight: SENTIMENTAL VALUE SIRAT SOUND OF FALLING THE SECRET AGENT IT WAS JUST AN ACCIDENT YOUNG MOTHERS THE LITTLE SISTER RESURRECTION
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Edited season 1 of this series, and really happy to see that The New York Times has found it as Netflix now releases all seasons. —>
The Norwegian dramedy “Pernille,” about a decidedly ordinary woman who works in child welfare, is in all the good ways a lot like Pamela Adlon’s FX dramedy “Better Things,” our critic writes. nyti.ms/4dr8ESA
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Karsten Meinich retweeted
🎧 NY PODKAST: Vi har besøkt Los Angeles, og i denne andre delen av vår podkastserie forteller vi videre i reisebrevets form om våre opplevelser i byen – der vi besøker landemerker, studioer, kinoer og andre betydningsfulle steder i Hollywood. Hør den her: montages.no/2025/05/filmfrel…
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Karsten Meinich retweeted
Indieperle tilbake fra glemselen – River Phoenix og Lili Taylor briljerer i Nancy Savocas DOGFIGHT (1991): «River Phoenix' rolle i DOGFIGHT trekkes sjelden frem, men er en av hans beste,» skriver @KarstenM i dag: montages.no/2025/04/indieper… DOGFIGHT vises på Cinematekene denne uken.
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Karsten Meinich retweeted
Barna betaler prisen i et krigsherjet Italia: Vittorio De Sicas SKOPUSSERNE (1946) –> Dette var et av de første store verkene innen neorealismen, og denne uken vises SKOPUSSERNE i 4K-utgave på #Cinematekene. Montages-redaktør @KarstenM skriver om filmen: montages.no/2025/03/barna-be…
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✈️ Oslo —> Los Angeles 🎬
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This is probably the most insightful and meaningful analysis of The End so far - from Norway’s Montages Magazine.
Her er P. Stuart Robinson om et av TIFFs høydepunkter: "Joshua Oppenheimer’s THE END may be anti-musical and anti-world, but at least it’s pro-planet. ––> What makes the film as powerful as it is disconcerting is the constant jarring of mode and tone." is.gd/cdbKcg
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