The perpetually lost twentysomething may be a stereotype well explored by many a Noah Baumbach film, most notably Frances Ha, but Reinsve breathes life into familiar scenarios, through a character whose uncertainty is a product of uncertain times. [The] most surprising turn in the winding The Worst Person in the World may be how effortlessly it slides from self-consciousness to deeply affecting contemplation of loss and very real pain.
— Pat Brown (Slant Magazine)
One thing you might notice is that she doesn’t seem to have any female friends. Is this because of her shortcomings, or evidence of an imaginative blind spot on Trier and Vogt’s part? Reinsve’s performance is vivid, inventive and grounded [but] to some extent, Julie remains a middle-aged man’s idea of a younger woman. If that sounds like I’m scolding, I’d add that the same is true of Anna Karenina, Hedda Gabler and most of Henry James’s heroines. Also that, as a middle-aged man myself, I don’t entirely trust my reaction to the character.
— A. O. Scott (The New York Times)
The final sentiment that everything’s gonna be all right feels somewhat empty next to the more relatable pattern of life’s episodes and vacillation that came earlier
— Brian Eggert (Deep Focus Review)
The chronicles of four years in the life of Julie, a young woman who navigates the troubled waters of her love life and struggles to find her career path, leading her to take a realistic look at who she really is.