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“The Girl With the Needle,” Denmark’s official submission for the international feature Oscar, is directed and co-written by the Swedish Polish filmmaker Magnus von Horn. It doesn’t announce itself as such, but it is a film about one of Denmark’s most notorious serial killers, Dagmar Overbye, a child caretaker convicted in 1921 for murdering nine babies (she may have killed up to 25). Women brought the victims to her, babies born out of wedlock, perhaps one too many for a household or the mother too young. Dagmar was presented with a problem and she took care of it, in the cruelest of ways.
For Von Horn and his Danish co-writer Line Langebek, what’s important about Dagmar’s story isn’t Dagmar herself, but the social context that birthed her heinous crimes and the hypothetical women who might have found themselves in Dagmar’s dark embrace, like Karoline.
The world presented by “The Girl With the Needle” is a newly industrialized, postwar Denmark that is not kind to many — workers, veterans, even wealthy aristocrats trapped in gilded cages, unwilling to risk money or status for happiness. But it is harshest on women and babies, who bear the brunt of a society built on inequality, women lacking access to options for anything, really: jobs, resources, healthcare, childcare.
