One of the most moving scenes in Joachim Trier’s “Sentimental Value” happens near the end. During an intense moment between sisters Nora (Renate Reinsve) and Agnes (Inga Ibsdotter Lilleaas), who have both had to reckon with the unexpected return of their estranged father, Gustav (Stellan Skarsgård), Agnes suddenly tells Nora, “I love you.” In a family in which such direct, vulnerable declarations are rare, Agnes’ comment is both a shock and a catharsis.

The line wasn’t scripted or even discussed. Lilleaas was nervous about spontaneously saying it while filming. But it just came out.

“(In) Norwegian culture, we don’t talk so much about what we’re feeling,” explains Lilleaas, who lives in Oslo but is sitting in the Chateau Marmont lounge on a rainy afternoon in mid-November.

If the script had contained that “I love you” line, she says, “It would’ve been like, ‘What? I wouldneversay that. That’s too much.’ But because it came out of a genuine feeling in the moment — I don’t know how to describe it, but it was what I felt like I would want to say, and what I would want my own sister to know.”

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Since its Cannes premiere, “Sentimental Value” has been lauded for such scenes, which underline the subtle force of this intelligent tearjerker about a frayed family trying to repair itself. And the film’s breakthrough performance belongs to the 36-year-old Lilleaas, who has worked steadily in Norway but not often garnered international attention.

Touted as a possible supporting actress Oscar nominee, Lilleaas in person is reserved but thoughtful, someone who prefers observing the people around her rather than being in the spotlight. Fitting, then, that in “Sentimental Value” she plays the quiet, levelheaded sister serving as the mediator between impulsive Nora and egotistical Gustav. Lilleaas has become quite adept at doing a lot while seemingly doing very little.

“In acting school, some of the best characters I did were mute,” she notes. “They couldn’t express language, but they were very expressive. It was freeing to not have a voice.

Agnes, she’s present a lot of the time but doesn’t necessarily have that many lines. To me, that’s freedom — the (dialogue) very often comes in the way of that.”

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Lilleaas hadn’t met Trier before her audition, but they instantly bonded over the challenges of raising young kids. And she sparked to the script’s examination of parents and children.

Unlike restless Nora, Agnes is married with a son, able to view her deeply flawed dad from the vantage point of both a daughter and mother. Lilleaas shares her character’s sympathy for the inability of different generations to connect.

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“A lot of parents and children’s relationships stop at a point,” she says. “It doesn’t evolve like a romantic relationship, (where) the mindset is to grow together.

With families, it’s ‘You’re the child, I’m the parent.’ But you have to grow together and accept each other. And that’s difficult.”

Spend time with Lilleaas and you’ll notice she discusses acting in terms of human behavior rather than technique. In fact, she initially studied psychology. “I’ve always been interested in the (experience) of being alive,” she says.

“Tremendous grief is very painful, but you can only experience that if you have great love. I’ve tried the psychological approach of studying people, but it wasn’t what I wanted. Acting is the perfect medium for me to explore life.”

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Other out-of-towners might be disappointed to arrive in sunny Southern California only to be greeted by storm clouds, but Lilleaas is sanguine about the situation. “I could have been at the beach, but it’s fine,” she says, amused, looking out the nearby windows. “I can go to the movies — it’s perfect movie weather.”

Her measured response to both her Hollywood ascension and a rainy forecast speak to her generally unfussed demeanor. During our conversation, Lilleaas’ candor and lack of vanity are striking.

How often does a rising star talk about being happy when a filmmaker gives her fewer lines? Or fantasize about a life after acting?

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“Some days I’ll be like, ‘I want to give it up. I want to have a small farm,’” she admits. “We lived on a farm and had horses and chickens when I grew up.

I miss that. But at the same time, I need to be in an urban environment.”

She gives the matter thought, sussing out her conflicted feelings. “Maybe as I grow older and have children, I feel this need to go back to something that’s familiar and safe,” she suggests.

“I think that’s why I’m searching for small farms (online) — that’s, like, a dream thing. I need some dreams that they’re not reality — it’s a way to escape.”

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Lilleaas may have decided against becoming a psychologist, but she’s always interrogating her motivations. This desire for a farm is her latest self-exploration, clarifying for her that she loves her profession but not the superficial trappings that accompany it.

“Ten years ago, this would maybe have been a dream, what’s happening now,” she says, gesturing at her swanky surroundings. “But you realize what you want to focus on and give value. I don’t necessarily want to givethisthat much value. I appreciate it and everything, but I don’t want to put my heart in it, because I know that it goes up and down and it’s not constant.

I put my heart in this movie. Everything that comes after that? My heart can’t be in that.”