European Film Awards 2024: Magnus von Horn Talks THE GIRL WITH THE NEEDLE, Social Failures, Moral Ambiguity, Crafting a Dark Fairytale

Swedish director Magnus von Horn’s The Girl with the Needle received nominations in multiple categories at the European Film Awards 2024, including wins for original score and production design.

The film draws inspiration from the real-life case of Danish child murderer Dagmar Överby. Director  von Horn emphasizes that the film is not a biopic, however. Instead, it examines the societal conditions that allowed such crimes to occur, crafting a fictional narrative that engages with contemporary issues and raises questions about humanity and morality.

The case of Dagmar Överby is complex and unsettling. For von Horn, the goal was not to sensationalize her crimes. “It’s inspired by a true story,” he explained, “but the film isn’t about Dagmar as a person. It’s about the world that created her, the conditions that made her existence—and her crimes—possible.”

Von Horn’s focus is on the broader societal context, particularly the desperation faced by women who turned to someone like Överby. “She didn’t kidnap babies or enter homes to kill them,” von Horn pointed out. “Women brought their children to her because they felt they had no other choice. That reflects a society that failed them, forcing them into an illegal, hidden world where help was unavailable.”

This historical examination resonates with contemporary issues, particularly in Poland, where von Horn has lived for over 20 years. “In 2020, Poland introduced some of the most restrictive abortion laws in the world,” he noted. “Women’s freedom of choice was taken away, and I couldn’t help but draw a parallel to the world in the film—a place where women had no choice.”

This parallel underscores the film’s relevance, highlighting how systemic failures perpetuate cycles of desperation and oppression. “When you start to see similarities between the world we live in and the one depicted in the film, it’s alarming,” von Horn admitted.

Moral ambiguity and the circumstances that shape human behavior are central themes in The Girl with the Needle. “The question that haunted me throughout the process was: When do you become an oppressor yourself?” von Horn said. “If you’re continually beaten down by the world, at what point do you start beating others? How do you hold on to your humanity in an oppressive system?”

The protagonist, Karoline, played by Vic Carmen Sonne, is a fictional character and a young factory worker struggling to escape poverty. “She’s someone like us, someone trying to fight for a better life in an oppressive world,” von Horn explained. By focusing on Karoline, the narrative shifts away from the historical figure of Överby, emphasizing empathy over sensationalism. “I didn’t want to make a film about a serial killer,” he said.

The film incorporates a fairytale dimension, transforming its true crime inspiration into an allegorical story. One detail that shaped this aesthetic was the real-life fact that Överby ran a candy store. “It felt almost too good to be true—like something out of a storybook,” von Horn explained. “The idea of a killer hiding behind a candy store immediately conjured the image of a witch’s lair.”

The decision to set the film in its historical period and present it in black-and-white adds another layer of abstraction. This choice was partly practical, reflecting the era of the events, but also artistic. “Black-and-white immediately transports you to another time,” von Horn said. “It’s not just about recreating the past; it’s about creating a world that feels both familiar and distant. It’s a filter, a layer of artifice that lets the audience engage with the story in a more reflective way.”

The visual style references early cinema, including the Lumière brothers, German Expressionism, and classic horror. “We used imagery that exists in our collective memory, even if we don’t know exactly where it comes from,” von Horn explained.

The screenplay, co-written with Line Langebek Knudsen, took years to develop, focusing on action and visuals over dialogue. “At the beginning of the film, Karoline’s body language and actions tell you everything you need to know,” von Horn said. “As the story progresses, the focus shifts to how she navigates the world around her. It’s not about what she says but what she does—and what’s done to her.”

Casting Vic Carmen Sonne was crucial to creating an authentic portrayal. Von Horn sought an actor who could embody the time period without relying on heavy makeup or elaborate costumes. “Many of the actresses we saw during casting were talented, but they didn’t have the qualities we needed—they felt too polished, too modern,” he said. Sonne stood out for her authenticity. “Even without makeup or costumes, you believe she could have lived in that time, worked in that factory, and survived in those conditions.”

The film’s soundscape, created by Frederikke Hoffmeier, deviates from traditional film scores. Known for her work in the noise genre, Hoffmeier crafted a raw and experimental soundtrack. “I never imagined classical music for this film,” von Horn said. “I wanted something raw, something that felt like it could break apart at any moment.”

The score mirrors the emotional intensity of the narrative, reflecting the characters’ despair and the film’s most harrowing moments. “There are scenes in this film—an abortion in a bathhouse, the killing of an infant—that are emotionally devastating,” von Horn noted. “The music reflects that. It’s as though the music itself is breaking, just like the characters.”

Becoming a parent has influenced von Horn’s approach to storytelling. “When I was younger, I was drawn to stories that shocked me,” he said. “But now, I’m not interested in provocation for its own sake.” This shift is evident in The Girl with the Needle, where darkness serves to explore deeper questions about humanity and resilience. “The film isn’t just about horror or tragedy—it’s about the people inside those moments, the choices they make, and the systems that shape them.”

Von Horn sees value in exploring dark stories, particularly in challenging times. “Dark stories have a unique ability to reflect the world around us, to confront issues that we might otherwise avoid,” he said. 

Cover image (c) European Film Academy, the film team of The Girl with the Needle on the red carpet of the 37th European Film Awards, Magnus van Horn, fourth from the right