The Girl with the Needle

Newly unemployed and pregnant in the wake of the Great War, Karoline scrapes by in Copenhagen as whispers of hardship swirl around her. She catches the attention of Dagmar, a charismatic elder who runs an underground adoption ring that slyly rehomes children to people who want them, outside the official channels. Karoline agrees to help as a way to survive, drawn by Dagmar's confidence and the promise of a future. As they grow closer, their unusual alliance exposes a maze of secrets, loyalties, and moral lines that feel both intimate and dangerous. A startling discovery tests their bond and forces each woman to question what family really means. The city hums with street markets, military parades, and whisper networks, all shaping Karoline's choices.

Directed by Magnus von Horn, the film is created by Line Langebek Knudsen and von Horn. This period drama anchors its tension in post war Copenhagen as it examines power, loyalty and what family can cost. The production leans into intimate framing with cramped interiors, long takes, and careful detail in costumes and props that bring the era to life.

Box office receipts total about 470,300 worldwide, signaling a modest release and a quiet footprint on the international art house circuit rather than a wide commercial push. It relied on word of mouth and strong critic attention rather than a heavy marketing push.

As of now the film has drawn mild to favorable notices for its performances and period detail at festivals, but it has not earned major nominations or wins in the major awards circuits.

Reception focuses on craft and moral texture rather than spectacle. Critics note strong performances from Vic Carmen Sonne and Trine Dyrholm, a restrained visual language, and a historically grounded atmosphere. The film probes autonomy and exploitation, asking how hunger and hope shape loyalty and what people owe one another in a fragile era.