The film’s cacophony of grief and anxious romance erupt within upstate New York, 6,000km away from the Nordic, millennial anomie of Joachim’s informal Oslo trilogy. It’s possibly the Danish-Norwegian director’s most turbulent film. It’s certainly his most divisive. I’d go as far to say that, 10 years on, his English-language debut has proven to be one of his most essential works, mapping out the jagged, emotional terrain he would later come to revisit.