{"id":172819,"date":"2025-12-08T00:23:11","date_gmt":"2025-12-08T00:23:11","guid":{"rendered":"https:\/\/www.newsbeep.com\/nz\/172819\/"},"modified":"2025-12-08T00:23:11","modified_gmt":"2025-12-08T00:23:11","slug":"sentimental-value-director-joachim-trier-and-star-renate-reinsve","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/nz\/172819\/","title":{"rendered":"‘Sentimental Value’ Director Joachim Trier And Star Renate Reinsve"},"content":{"rendered":"

\n\tNorwegian filmmaker Joachim Trier<\/a> reunites with his Oslo neighbor, acclaimed actor Renate Reinsve<\/a> for their third collaboration, Sentimental Value<\/a>, a movie about two bereaved sisters \u2014 Nora, a stage actor played by Reinsve, and her younger sibling Agnes, a historian, performed by Inga Ibsdotter Lilleaas \u2014 whose estranged father, Gustav Borg (Stellan Skarsg\u00e5rd<\/a>) a once celebrated movie director, re-enters their lives. Each copes in their own way with generational trauma. The one constant in all their lives is the historical family home, a key character, that they once all shared until Gustav abandoned them. Nora and her surviving parent communicate as if strangers; she\u2019s unforgiving and rejects Gustav\u2019s entreaties to star in his deeply personal comeback picture which he\u2019s written as a gift to her. Instead, he persuades Hollywood name Rachel Kemp, played by Elle Fanning<\/a>, to replace his daughter. Admiring of Reinsve\u2019s \u201cenergy, playfulness and charisma,\u201d Sentimental Value is the second lead role that Trier has created for her; their last picture, The Worst Person in the World<\/a> won a Best Actress prize for Reinsve at the 2021 Cannes Film Festival. \u201cI feel like the luckiest actor to get to do this with Joachim,\u201d Reinsve says.<\/p>\n

\n\t\u201cI sat down and we probably had two hours where I told her the structure of the story and the themes and why I thought it would be great to do it with her,\u201d Trier recalls.\u00a0They both wept as they investigated Nora\u2019s longing for home and the realization that she\u2019s only at home on the stage just as Trier and Reinsve locate theirs in cinema.\u00a0<\/p>\n

\n\tTrier collected Cannes\u2019 Grand Prix award for\u00a0Sentimental Value,\u00a0which he penned with longtime writing partner Eskil Vogt. Reinsve talks of \u201claughing so hard\u201d when Trier larked about on set with a package of sausages before\u00a0shooting a scene of such heartache that she felt she was being \u201cpunched in the stomach\u201d.<\/p>\n

\n\tBut that\u2019s what draws her to work with Trier. Here, the two talk about their partnership that began when the director cast her in Oslo, August 31st 15 years ago. The role offered Reinsve just one line but the director saw enough in her performance to forge what has emerged as an acclaimed creative partnership.<\/p>\n

\t\t\t\t\t\t\"Joachim<\/p>\n

\t\t\t\t\tStellan Skarsg\u00e5rd and Renate Reinsve in \u2018Sentimental Value.\u2019<\/p>\n

\t\t\t\t\t\t\t\t\tKasper Tuxen\/Neon\/Everett Collection<\/p>\n

\n\tDEADLINE: Joachim, Sentimental Value is your third collaboration with Renate. I want to go back to the moment you first met. When you worked together back in 2010, after you had cast her in a small role for your film Oslo, August 31st, she was totally unknown. What made you pick her?<\/p>\n

\n\tJOACHIM TRIER: I\u2019ll use a terrible term, but in English, I think you call it a cattle call. We basically wanted to try to find some young people that would surround the rather depressed character of Anders Danielsen Lie in that film\u2026 So we were meeting all the young actors in Norway from all the schools and everywhere, and I didn\u2019t even know that Renate actually went to the most prestigious acting school in Norway [the Oslo National Academy of the Arts] the sort of national performance school that many great actors had gone to. I\u2019m not saying this in retrospective romanticization of her talent, but I was looking at tapes and then immediately, I asked: \u201cWho\u2019s that girl in the green trousers?\u201d There was something about her\u2026 she just broke into a laugh doing some sort of improv thing. And I just said, \u201cOK, so let\u2019s bring her in.\u201d\u00a0<\/p>\n

\n\tShe met Anders and we were both stunned at the energy and the charisma and the playfulness, and I immediately felt safe.\u00a0We then shot her scene over eight days because we wanted to catch the sun coming out, so we had to sustain the light. So, every morning for one and a half weeks we heard her repeat the same one line of dialogue.\u00a0<\/p>\n

\n\tI was filming Anders in the center of the frame and she was creating some life over there doing autonomous character work\u2026 and I was looking at the rushes, and whenever she\u2019s in frame she\u2019s always doing something lifelike and interesting. After that I kept looking at her stage work, and we met socially\u2026 I was always asking: \u201cWhat are you doing?\u201d And she was being cast as the pretty girl that threatens the main cast love relationship or some funny characters and some TV shows, but smaller parts. Finally, I said, \u201cDamn it, let\u2019s do\u00a0The Worst Person in the World,\u201d\u00a0and I wrote it for her.<\/p>\n

\n\tDEADLINE: So, you did that first audition tape unaware that the camera loves you?<\/p>\n

\n\tRENATE REINSVE: Yeah, because I hadn\u2019t done any movies before that and I knew that at that time he was the only director I wanted to work\u00a0with. So,\u00a0I kind of went into it not thinking I would get the part\u2026 And so I did the self-tape. I was just talking and being myself. And being on the set was so easy and I felt like we were hanging out all of us as friends, and I didn\u2019t have anything to compare it to. And then I did some other roles in other productions, small parts.<\/p>\n

\n\tI did a lot of theater and I was very lucky with my roles in theater, but that is very different. And I always wanted to go into cinema, And then doing all these other films, I realized how special the production Joachim builds is, and how I probably would never have that experience again. He had made this great movie\u00a0Reprise\u00a0and he was, at the time, the director everyone in Norway wanted to work with\u2026 Actually, between doing\u00a0Oslo, August 31st\u00a0and The Worst Person in the World, I also had this feeling I never kind of found someone to work with or a production that was stimulating enough for me as an actor. And I\u2019ve worked in the theater\u2026 so I decided that I wanted to quit and do something else. And then the weirdest thing happened: Joachim called me the day after [about\u00a0The Worst Person in the World]. And of course, that was kind of the bullseye of what I wanted to do.<\/p>\n

\t\t\t\t\t\t\"Joachim<\/p>\n

\t\t\t\t\tReinsve with Inga Ibsdotter Lilleaas in \u2018Sentimental Value.\u2019<\/p>\n

\t\t\t\t\t\t\t\t\tNeon\/Everett Collection<\/p>\n

\n\tDEADLINE: You give someone a couple of lines in a film and then go on to write a whole movie for them. What could you see?<\/p>\n

\n\tTRIER: I had seen some amazing theater work. I\u2019d also met Renate several times\u2026 Looking back now, I think the spirit of\u00a0The Worst Person in the World\u00a0coincided with a lot of things in my creative development. It was a wish to throw away any kind of expectations from whatever people wanted me to do and go back to scratch. I wanted to make something about young people and the spirit of youth and joy mixed with growing up and time passing. In a strange way, I think that fits very well with the spirit of Renate in a way.\u00a0<\/p>\n

\n\tI know you; I know your life. I know you\u2019re a person that\u2019s very sensitive and I know that life for all of us goes up and down and you have that deep understanding of what\u2019s difficult in life too. But I see also in your performance in the new film that I couldn\u2019t imagine anyone else being Nora than you without it being autographical. But I think you have this incredible range, you\u2019re really funny. What moves me about Renate, like in great comedians, you see that the joy and the fun is also a mechanism of being in contact with the opposite. There\u2019s a sense of, \u2018Hey, we\u2019ve got to make this interesting because life is not simple.\u2019<\/p>\n

\n\tThere\u2019s a dramatic purpose to your humor in a way. I go into a delicate area because I\u2019m not saying that Renate walks around and is terribly depressed or anything. But you have a range in your life also. You see the whole picture of the human experience, I feel, and that\u2019s what you bring to your performance. I know for a fact, that one of the motivations of him working on\u00a0Sentimental Value\u00a0was that Stellan Skarsg\u00e5rd was really intrigued by doing a role together with you. And when we had you two meet to do some rehearsal, Stellan, who has worked with everyone, said to me: \u201cIt\u2019s extraordinary. Her\u00a0skin\u00a0changes color, in her performance, you see what she feels.\u201d We\u2019re getting a lot of compliments for Renate. I\u2019m sorry I\u2019m bragging [laughs], but I\u2019m very proud. I mean by now you\u2019re a superstar and you can fly off and do whatever, but I\u2019m so proud that we keep working together.<\/p>\n

\n\tREINSVE: You\u2019re talking for 10 minutes about so many nice things about me. I\u2019m getting shy and really, really moved.<\/p>\n

\n\tTRIER: But I mean this, it\u2019s true.<\/p>\n

\n\tREINSVE: And I think we recognize something in each other, the playfulness, and to be able to laugh about these things and be curious and also go really deep into these themes. And we kind of have the same questions about it, not necessarily wanting an answer, but seeing the complexities and seeing what it is and the way you write your characters and your scripts. They\u2019re so complex and they\u2019re so dynamic and characters, they are never judged with all their chaos\u2026 But I\u2019ve also laughed my ass off on your sets. You are so funny, Joachim, and we\u2019ve had so much fun. I remember I almost ruined the whole take because you were pretending that this pack of sausages was the monitor. Before one of the takes you looked at me really serious and said: \u201cOK, let\u2019s do this,\u201d and you hold this package of sausages. And I was just laughing so hard.\u00a0<\/p>\n

\n\tDEADLINE: Renate\u2019s character is a theater actor and I\u2019m wondering whether any of Renate\u2019s experiences in the theater fed into the screenplay for\u00a0Sentimental Value?<\/p>\n

\n\tTRIER: Yes, several times because first of all, Renate doesn\u2019t have this kind of stage fright [that Nora suffers from] just to make that clear, that\u2019s her character. We know some people like that, we have a very good friend who when he plays\u00a0Hamlet, he sometimes vomits before he goes out. It becomes a kind of urgent energy thrust that happens to him where he gets very anxious\u2026 And you have this other friend, a female actor, who almost tries to run away from premieres and stuff. She panics completely, but she tells everyone ahead of time that this is who I am\u2026<\/p>\n

\n\tI\u2019ve never worked in theater. I look at these wonderful people, even if it\u2019s a bad play, and sometimes I can tear up at the end because I see what they do for us. So talking about creative life, I think that\u2019s a great way to start a film to see that the facade of it looks very controlled and crafted, but behind, if you go 180, you see that Nora\u2019s whole dress in the play is held up with duct tape and it\u2019s just chaos and anxiety. We thought that that was interesting. I don\u2019t know, Renate, I mean you have this experience of going on stage.<\/p>\n

I think we recognize something in each other, the playfulness, and to be able to laugh about these things and be curious and also go really deep into these themes.<\/p>\n

Renate Reinsve<\/p>\n

\n\tREINSVE: Absolutely. And I really love the launch of the character in\u00a0Sentimental Value because you see her core problem through this very comedic setup that is very physical. You also see all the emotional weight that she\u2019s carrying, unable to process, unable to communicate with the people around her in her real life. And she runs away panicking\u2026 because to be a good performer, you have to access everything inside of you. Also, on the subconscious level, you kind of have to have a contact with that and let anything come up. And she physically tries to run away, but when in the end she\u2019s pushed on stage, you can also see where she gets her force as an actor. And you also see the similarity with Gustav, her father, that they are kind of the same, that the only place they can be really sensitive and present with other people is on stage because he also lacks that ability in his life with his daughters.<\/p>\n

\t\t\t\t\t\t\"\"<\/p>\n

\t\t\t\t\tTrier and Reinsve after she wins the Best Actress Award for \u2018The Worst Person in the World.\u2019<\/p>\n

\t\t\t\t\t\t\t\t\tStephane Cardinale\/Corbis via Getty Images<\/p>\n

\n\tDEADLINE: What is the play she\u2019s performing? Initially I had thought it was some sort of avant garde A Doll\u2019s House\u00a0because Renate\u2019s character is also called Nora, and in the play she runs away, right?<\/p>\n

\n\tTRIER: This is a misunderstanding, it\u2019s not\u00a0A Doll\u2019s House, actually. The first play you see Nora perform is something that we have created from scratch, Eskil [Vogt] and I, based on an old tale by Anne Pedersdotter,\u00a0The Witch, a true story of the last witch that was burned at the stake in Norway in the 1700s.<\/p>\n

\n\tDEADLINE: Oh, I\u2019m glad you\u2019ve clarified that.\u00a0<\/p>\n

\n\tTRIER: It\u2019s actually a witch-burning kind of modern take feminist story. It\u2019s what we imagine a strong woman yelling at these patriarchs, the priests\u2026 These men who are frozen in time\u2026 And we did a lot of research and everything. We had a lot of help and Renate helped us a lot as well.<\/p>\n

\n\tREINSVE: And also you see her scream at a father figure from the very start. You see her anger towards this man, a priest, in that whole scene. You see so much of her core and the journey she\u2019s got to go on.<\/p>\n

\n\tDEADLINE: Having discussed the idea of\u00a0Sentimental Value, did you keep Renate apprised of the script\u2019s progress?<\/p>\n

\n\tTRIER: We started writing in late August, that must have been 2022. And by Christmas we had gotten most of the stuff in order. And I invited Renate for a cup of coffee at my house and I remember telling you what I wanted to do, and I kind of told the story a little bit from the point of view of Nora because we didn\u2019t have all the pieces yet. But I knew her trajectory and the dynamic of her and the father and the sister. But I also told you it as if I was telling you a story about a friend\u2026because I kind of had a sense of the character\u2019s journey and we were both becoming quite emotional. And you really embraced the idea and physically embraced me because I remember giving you a big hug\u2026And you were laughing and saying, \u201cYou know me so well.\u201d<\/p>\n

\n\tREINSVE: And also that you wanted to challenge me with a character that was more mature and was carrying more emotional weight. And I really loved the whole concept of the house surrounding the story of the family.\u00a0[Trier leaves to answer the door of his hotel room.]<\/p>\n

\n\tDEADLINE: While Joachim\u2019s gone, please tell me the kind of plays that you studied at drama school?<\/p>\n

\n\tREINSVE: For the exam of the school, I did play Nora [in\u00a0A Doll\u2019s House] and I\u2019ve done a lot of those roles both in the school and also after. I\u2019ve done a lot of Ibsen, Shakespeare, Chekhov. I worked with a great theater director from New York, Robert Wilson [Edda\u00a0at Oslo\u2019s Norwegian Theater]. Isabelle Huppert came to see it. I\u2019ve never been so nervous in my entire life\u2026<\/p>\n

\n\tTRIER: [Returns] Can I just shoot in my version of that story? I know Isabelle Huppert very well. We did\u00a0Louder Than Bombs\u00a0together about 10 years ago. And as we were getting into doing\u00a0The Worst Person in the World, Isabelle came because she was very close to Robert Wilson\u2026 So, Isabelle and I have tea the morning after the premiere and Isabelle says, \u201cOh, it was a great play last night, Robert is so good and then there was this one girl, this actress, she moved in a very special way. She had some special energy,\u201d\u00a0and I said, \u201cWho was she?\u201d\u00a0\u00a0\u201cOh, I don\u2019t know her name. She had a purple dress.\u201d And I said, \u201cAh, yeah, the girl in the purple dress, she\u2019s going to be the lead in my next film.\u201d\u00a0And Isabelle laughed and said, \u201cAh, of course, this is great.\u201d And then when the film was done and Isabelle saw it, she really helped promote\u00a0The Worst Person in the World.<\/p>\n

\t\t\t\t\t\t\"Joachim<\/p>\n

\t\t\t\t\tReinsve and Jonas Jacobsen in \u2018Sentimental Value.\u2019<\/p>\n

\t\t\t\t\t\t\t\t\tNeon\/Everett Collection<\/p>\n

\n\tDEADLINE: Renate, would anything in the world have stopped you from doing\u00a0Sentimental Value?<\/p>\n

\n\tREINSVE: I\u2019ve never, ever ever had anything in the way of working with Joachim. There is no director like him. And I\u2019ve been so moved by his work, even the films that I haven\u2019t been in, and really just had such a growing experience working with him. And for me, also, it\u2019s about what I really love about his movies, which is the emotionality, watching it grow on you really slowly and suddenly until you kind of get punched in the stomach. And I really felt that in the script too. I was kind of in the world of this family trying to figure out how to communicate. And these two sisters loving each other so much. There is no apparent big conflict between them, but they see each other\u2019s choices in life.<\/p>\n

\n\tThere were just so much really subtle complexities about the characters and the scenes. And then for me, the point where it really punched me in the stomach was the scene between the sisters where they realized what they\u2019ve been to each other and that the father has actually\u00a0seen\u00a0them this whole way without them realizing, it\u2019s just that he struggles to express it. So that was really when the movie just got to me and it creeps up on you slowly\u2026And I just love the way you, Joachim, collect everyone working on the set so it feels like we are really doing it together. It\u2019s not necessarily about my role and how I will do the role because that will come from the dynamic between everyone on set. And it\u2019s never about that one performance. It\u2019s about what we want to talk about together in that scene or in the whole movie. And then it\u2019s less pressure that way because it\u2019s never about you or what you bring. It\u2019s what occurs in the scene together with the other performers and\u00a0the crew.<\/p>\n

\n\tDEADLINE: The whole film leads to the scene you\u2019re referring to between Nora and Agnes where Agnes tells you of a beautiful memory she has of Nora washing her hair because you think that you haven\u2019t contributed to the relationship. You remain silent, your face tells us your reaction. How did you and Joachim discuss that moment?<\/p>\n

\n\tREINSVE: She realizes that she has the ability to love someone. And that is, for me\u2026 even talking about it now I get emotional. It\u2019s such a beautifully written relationship and that realization is so fantastic. And I love playing around with what Nora knew about herself and what she didn\u2019t know about herself, and what she realized throughout the movie is really the strength of that character, I think.<\/p>\n

\n\tDEADLINE: I\u2019m fascinated that two guys wrote this, Joachim. How were you and Eskil Vogt both able to capture this haunting, unspoken depth between two sisters?\u00a0<\/p>\n

\n\tTRIER: The idea of writing women when you\u2019re a man, I never found it problematic and I don\u2019t know why. Eskil and I, we sit there and we\u2019re not those characters anyway. And we both have sisters, by the way, and we both have female partners who have sisters.<\/p>\n

\n\tI never saw it as an issue. And at the same time, I\u2019m always interested in the vulnerability of people regardless of gender. My early films were a lot about men who felt that they were maybe too emotional to fit into the standardized kind of male machismo identity thing. So, I think it\u2019s more about identity and characters than gender for me, if I may say so. It\u2019s such a delicate subject, but that\u2019s how I feel.<\/p>\n

\n\tDEADLINE: And for you, Renate, when you read the screenplay and saw the relationship between Agnes and Nora, was there a backstory?<\/p>\n

\n\tREINSVE: I think there isn\u2019t as much backstory to working with you, Joachim, or it\u2019s maybe not that necessary. We knew that for instance, Nora was depressed and she was struggling with mental health. And then that expression of what that is needs to be very specific and not some general kind of version of what that is. But how does her face change in that? Where does she feel it? What does she specifically struggle with in her relationship when in the different stages of that depression? So those things are very specific to be able to be in the situation as your character and then really be very free about what happens in the scene with the other actor or with the whole\u00a0room actually.\u00a0<\/p>\n

\n\tSo, it\u2019s more about being very detailed about the work\u2026 It\u2019s very specific craft that we do, even though it looks very free and we do improvise on set, not just the actors, but the whole room.\u00a0\u00a0<\/p>\n

\n\tTRIER: I think what you\u2019re describing is to work from the inside. And it\u2019s kind of a slow process because we have rehearsal, we have calm time to talk about everything and get to know each other with the other actors. There\u2019s a lot of discussion about method acting at the moment. I could work with any technique, I think, if I can try to support an actor\u2019s needs, but I don\u2019t know what that is. In a way, I know that Renate becomes Nora without having to wear a mustache and a hat and speak differently over lunch. When we talk about letting something occur that\u2019s unplanned, it\u2019s because I know and trust that she\u2019s done the fundamental work beforehand.<\/p>\n

\n\tWe shoot consistently so you\u2019re in this bubble of being the character, and it\u2019s when it all ends and we give each other a hug on the last day, and I say, \u201cThank you for carrying Nora. I know that was really heavy.\u201d And we both cry and you say, \u201cThat was pretty tough. We\u2019re letting go now.\u201d So, I know that you get yourself into this situation. It\u2019s like it\u2019s not a forced thing. It just happens if you prep it properly. And then those things will occur on the day when you shoot the scene of the dynamic. And just listening to your sister, receiving her love and knowing that Nora, who you have kind of halfway become in that moment, resists that because it\u2019s so hard for her to feel loved and she yearns for it so much, and then something will occur\u2026 And that\u2019s the advantage of working a couple of films together is that you know that\u2019s what I want.\u00a0<\/p>\n

\t\t\t\t\t\t\"Joachim<\/p>\n

\t\t\t\t\tSkarsg\u00e5rd and Reinsve<\/p>\n

\t\t\t\t\t\t\t\t\tNeon\/Everett Collection<\/p>\n

\n\tDEADLINE: Also, Renate there\u2019s the scene with you and Stellan in the restaurant where he shows you the script and you reject him and it. There\u2019s rawness and cold fury behind your eyes and I thought, Christ, how does she do that?<\/p>\n

\n\tREINSVE: I know Joachim loves working like that, and we both do, to build something in a character, like a strong emotion and then work against it and on as many levels as we can. To kind of find the dynamic between strong emotions within a character and the layers in the character. And then what I really love working with Joachim is that he will pick up on the subtleness. So, I never as an actor have to show him what I\u2019m doing. He trusts that it lives within me and that the camera will capture it. And Stellan said something really nice about that. He said, \u201cThe camera will actually capture more than the naked eye.\u201d<\/p>\n

\n\tTRIER: Ingmar Bergman said it.\u00a0<\/p>\n

\n\tREINSVE: And Joachim is right there next to the camera. He\u2019s not behind the monitor. And in that way, he can also pick up on all the little things and direct us, because you need to lose control and not be intellectualizing what you\u2019re doing. And we can in that way, be really raw and very subtle in what we do because we never have to show him anything. And that is very unusual for a director, that when you get that amount of trust, you can really go very far within.<\/p>\n

\t\t\t\t\t\t\"\"<\/p>\n

\t\t\t\t\tRead the digital edition of Deadline\u2019s Oscar Preview magazine here<\/a>.<\/p>\n

\n\tDEADLINE: Joachim, what are you writing for Renate next?<\/p>\n

\n\tTRIER: It\u2019s so embarrassing\u2026 I don\u2019t know. I\u2019m letting all of these different ideas percolate. I don\u2019t know what the story is. I\u2019m thinking about vibe and mood, but I don\u2019t know. When a lot of this traveling is over, I\u2019ll get back to the writing room with Eskil. I cannot imagine not doing it. I can\u2019t promise anyone what the next one will be because I need that free space to just think. But the best days I\u2019ve had on set in my life have been with Renate. I have some people like Renate and Anders, several others that I know that they\u2019ll be good days on set. And I feel that so urgently with her. Even if there\u2019s a film that we skip, then I hope she will not give up on me.\u00a0<\/p>\n

\n\tREINSVE: Never give up on you. Never.<\/p>\n

\n\tTRIER: I would love to see her age. I think that\u2019s the magic of cinema as well, that she keeps developing, maturing, conquering new things. I would love to be a part of that.<\/p>\n

\n\tREINSVE: I\u2019m so curious also about the process around the movie with you, Joachim. If and when, next time I\u2019m not in your movie, will you let me into your editing room just to watch a little bit?\u00a0<\/p>\n

\n\tTRIER: Yes.<\/p>\n","protected":false},"excerpt":{"rendered":"Norwegian filmmaker Joachim Trier reunites with his Oslo neighbor, acclaimed actor Renate Reinsve for their third collaboration, Sentimental…\n","protected":false},"author":2,"featured_media":172820,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[27],"tags":[111465,6765,156,6767,409,111,139,69,111466,6768,6769,6770,111467],"class_list":{"0":"post-172819","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-movies","8":"tag-awardsfeature","9":"tag-elle-fanning","10":"tag-entertainment","11":"tag-joachim-trier","12":"tag-movies","13":"tag-new-zealand","14":"tag-newzealand","15":"tag-nz","16":"tag-oslo-august-31st","17":"tag-renate-reinsve","18":"tag-sentimental-value","19":"tag-stellan-skarsgu00e5rd","20":"tag-the-worst-person-in-the-world"},"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/nz\/wp-json\/wp\/v2\/posts\/172819","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/nz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/nz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/nz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/nz\/wp-json\/wp\/v2\/comments?post=172819"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/nz\/wp-json\/wp\/v2\/posts\/172819\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/nz\/wp-json\/wp\/v2\/media\/172820"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/nz\/wp-json\/wp\/v2\/media?parent=172819"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/nz\/wp-json\/wp\/v2\/categories?post=172819"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/nz\/wp-json\/wp\/v2\/tags?post=172819"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}