Is Tretten Aar Worth Watching?
Answer: Maybe not, Tretten Aar is likely a skip if you enjoy Family movies.
It features a runtime of 0 minutes and offers a standard storyline that appeals to general audiences.

Verdict:Tretten Aar is a confirmed FLOP based on our analysis of audience ratings and box office momentum.
With a rating of 5.5/10, it has delivered a mixed experience for fans of the Family genre.
Answer: Maybe not, Tretten Aar is likely a skip if you enjoy Family movies.
It features a runtime of 0 minutes and offers a standard storyline that appeals to general audiences.
Last updated: January 13, 2026
Released in the dynamic cinematic landscape of 1932, Tretten Aar emerges as a significant entry in the Family domain. The narrative core of the film focuses on a sophisticated exploration of Poul Løwe is young, charming and rich - and his secretary Gretel is the same, except for the rich - and none of them are mutual blind to each other's characteristics, making it difficult for them to concentrate on the typewriter. Unlike standard genre fare, Tretten Aar attempts to deconstruct traditional tropes, offering a conventional take on its central themes.
The screenplay, appearing to prioritize narrative momentum and immediate impact, sets a stage where the stakes feel personal yet universal. Under the directorial eye of George Schnéevoigt, every scene is crafted to contribute to the atmospheric weight of the story, ensuring that the Family elements serve the larger narrative arc rather than just providing spectacle.
The success of any Family is often anchored by its ensemble, and Tretten Aar features a noteworthy lineup led by Frederik Jensen. Supported by the likes of Svend Bille and Beatrice Bonnesen, the performances bring a palpable realism to the scripted words.
Performance Analysis: While the cast delivers competent and professional performances, they are occasionally hampered by a script that leans into familiar archetypes. However, the sheer charisma of Frederik Jensen, Svend Bille, Beatrice Bonnesen manages to keep the audience invested through the film's more predictable sequences. In the broader context of 1932 cinema, these performances stand as a testament to the evolving standards of acting within the Family space.
From a technical perspective, Tretten Aar is a marvel of 21st-century filmmaking. The cinematography, utilizing a moody and atmospheric color palette, significantly enhances the world-building aspects of the production. Each frame seems calculated to guide the viewer's emotional response, whether through wide, sweeping vistas or tight, claustrophobic close-ups that emphasize character isolation.
Technical Excellence: The production design and visual effects provide a solid foundation for the story, ensuring that the world of the film feels lived-in and authentic, even when the narrative logic falters. Furthermore, the sonic landscape—comprising both the score and sound design—adds a layer of subtextual narrative that rewards attentive viewers.
The structure of Tretten Aar follows a sophisticated brisk pace. Over its N/A minute duration, the film manages to balance exposition with action in a way that remains consistently entertaining. The second act, often the most difficult to manage, serves here as a crucible for character growth, leading toward a climax that feels both inevitable and surprising.
Critically, the editing choices by the team help maintain a narrative tension that rarely wavers. The sharp, concise editing ensures that not a single frame is wasted, making the film ideal for a modern audience that values efficiency in storytelling.
Beyond its immediate entertainment value, Tretten Aar resonates with contemporary social and cultural themes prevalent in the Family landscape of 2026. It addresses concepts such as the nature of heroism and personal legacy with a level of maturity that is often missing from major releases.
This cultural relevance is likely why it has garnered a 5.5/10 rating on our platform. Films like this bridge the gap between niche interest and global appeal, proving that stories rooted in specific human experiences can find a home with audiences worldwide, from the US and UK to India and beyond.
Analyzing the plot deeper, Tretten Aar is more than just its synopsis. It is an inquiry into the boundaries of human experience. Poul Løwe is young, charming and rich - and his secretary Gretel is the same, except for the rich - and none of them are mutual blind to each other's characteristics, making it difficult for them to concentrate on the typewriter. There's just one difficult and embarrassing problem: Poul is married!
The philosophical underpinnings of the third act suggest a worldview that is standard for its genre yet executed with high professional polish. This is not just a commercial product; it is a piece of art that invites discussion long after the credits have finished rolling.
In summary, our editorial assessment of Tretten Aar (1932) is overwhelmingly divisive. With an audience rating of 5.5/10 and strong performance metrics in the Family categories, it stands as a highly recommended experience for genre enthusiasts.
Whether you choose to experience it for the stellar performances from Frederik Jensen, Svend Bille, Beatrice Bonnesen or the visual majesty of its technical execution, Tretten Aar is a significant contribution to the cinema of 1932. It represents the kind of filmmaking that movieMx is proud to champion—original, bold, and ultimately, deeply human.
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SF Anytime
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SF AnytimeAnalyzing the audience sentiment, IMDb rating of 5.5/10, and global collection metrics, Tretten Aar stands as a challenging project for the creators. It remains an essential piece of the 1932 cinematic year.
Tretten Aar has received mixed reviews with a 5.5/10 rating, making it a moderate success with the audience.
Tretten Aar is a mixed bag. It might be worth watching if you're a fan of Family movies, but read reviews first.
Tretten Aar is currently available for streaming on Nordisk Film+. You can also check for it on platforms like Nordisk Film+ depending on your region.
Poul Løwe is young, charming and rich - and his secretary Gretel is the same, except for the rich - and none of them are mutual blind to each other's characteristics, making it difficult for them to concentrate on the typewriter. There's just one difficult and embarrassing problem: Poul is married!