Phil Roberts 
Fjord is a morally compelling and thought-provoking piece of modern cinema. With its fascinating storyline, breathtaking cinematography, and brilliant, deeply resonant performances from its leading cast, the film is a triumph of independent cinema.
Awards season is officially underway, and all the big hitters are coming out to play! From Wild Horse Nine and Elsinore to Godzilla Minus Zero and Wildwood, studios are lining up their contenders and making a play for awards glory. But flying somewhat under the radar this week is the latest offering from Romanian filmmaker Cristian Mungiu. Titled Fjord, the film follows a Romanian family who relocate to Norway in search of a better life. However, when their children’s new school reports them to the authorities over allegations of child abuse, their dream of a fresh start quickly becomes a nightmare. Torn apart by suspicion, persecuted over their religious beliefs, and branded as child abusers, the family finds itself fighting to stay together as their world comes crashing down around them.
Starring Sebastian Stan and recent Oscar nominee Renate Reinsve, Fjord boasts a formidable wealth of talent to bring this harrowing family drama to life. Add to that a story loosely inspired by real-life events, and there’s certainly plenty here to pique our interest. But can Mungiu deliver a gripping family drama worthy of the big-screen treatment, or would we be better off leaving Fjord tucked away among Norway’s picturesque mountains?
REVIEW
Fear not, dear readers, because Cristian Mungiu’s Fjord is a powerful drama that is guaranteed to spark conversation. Anchored by stellar performances from Sebastian Stan and Renate Reinsve, the film delivers a somber, heartfelt, and often jaw-dropping exploration of faith, family, and society, bringing the clash between personal beliefs and social expectations into the spotlight with some shocking results. Set against the gloriously picturesque, snow-covered Norwegian mountains, Fjord is certainly a feast for the eyes. But once the drama kicks into high gear, the fallout is anything but pretty, leaving us gasping for air as the family’s world begins to unravel.
Ultimately, Fjord delivers a story of real substance, giving us plenty to sink our teeth into as we wrestle with the moral complexities of what constitutes child abuse. Even more compelling, however, is the debate surrounding when and how far social services should be allowed to intervene, and how much weight should be given to the evidence gathered along the way. Where should the line be drawn, and how certain must the authorities be before taking such drastic action? And perhaps that is the most shocking aspect of the film: not simply the events themselves, but the unsettling questions they raise about the balance between protecting children and preserving the rights of their parents.
SEBASTAIN STAN
A film of this emotional depth demands a commanding performance at its center, and Mungiu has worked his magic by securing the brilliant Sebastian Stan. His transformation in Fjord is nothing short of extraordinary. So much so that I genuinely forgot who I was watching as the story unfolded. Such is the sheer power of this performance. Gone is the heroic Winter Soldier, replaced by Mihai Gheorghiu, a quiet, reserved, deeply religious Romanian engineer. This is a character Stan can really sink his teeth into, allowing him to weave layer upon layer of complexity into a performance that showcases the full extent of his remarkable talent.
Taking on a role of this depth is a bold move for the star, particularly given the deeply troubling allegations surrounding his character. But Stan approaches the material with tremendous dignity and grace, never allowing the performance to become overly theatrical or sensationalized. Instead, he lets the story and its difficult subject matter speak for themselves, delivering a nuanced, deeply affecting portrayal that is a world away from the superhero territory audiences may associate him with. It’s a transformative performance, and one that deserves recognition.
RENATE REINSVE
Alongside Stan is the phenomenal Renate Reinsve, who rose to stardom in last year’s Sentimental Value. Cast as Mihai’s devoted wife, Lisbet, Reinsve becomes the film’s emotional anchor, providing a wonderful counterbalance to her co-star’s darker, more rebellious character. A nurse by profession, Lisbet already has her hands full juggling work and family life, with the seemingly thankless task of raising five children, including a newborn baby. While Mihai takes on the role of disciplinarian, Lisbet is the softer, more compassionate presence in the household, creating a delicate balance within the family dynamic.
However, beneath the surface of their seemingly ordinary domestic routine, Reinsve’s performance reveals subtle cracks in the relationship. Through their interactions, we get a growing sense that things aren’t quite as they seem behind closed doors. It’s a beautifully restrained performance that adds another fascinating layer to Mungiu’s increasingly unsettling family drama.
CULTURE CLASH
Where Fjord truly comes into its own is in its exploration of the clash between religious belief and its place in modern society. Mihai runs a strict household, instilling in his children the importance of faith and religious discipline. The family prays before bed, the children are forbidden from accessing modern technology, and physical punishment is used when they step out of line. Within the confines of their home, these practices are presented as part of everyday family life. However, when the children begin attending school in their new surroundings, their teachers quickly become concerned about their welfare.
Initially, the warning signs appear relatively minor, with the children forbidden from attending birthday parties or interacting with their friends through technology. But matters take a far more disturbing turn when Mihai’s eldest daughter arrives at school sporting visible bruising. Social services are alerted, and before long, the children are removed from the family home.
It’s a jaw-dropping turn of events that raises some uncomfortable questions about the boundaries between parental authority, religious freedom, and the responsibilities of the state. Is the system, as it stands, truly equipped to distinguish between deeply held cultural beliefs and genuine safeguarding concerns? The film invites us to wrestle with that very dilemma. We see Mihai administer a handful of corrective slaps, but the wider circumstances surrounding the family’s treatment of their children remain open to interpretation.
FAMILY VS STATE
That ambiguity is precisely what makes the situation so unsettling. How much evidence should be required before authorities intervene, and where should the line be drawn between protecting vulnerable children and respecting a family’s right to raise them according to its beliefs? Fjord offers no easy answers, instead leaving audiences to confront a deeply uncomfortable moral minefield.
This is where the waters become decidedly murky. The film suggests that the bruising on Mihai’s daughter’s body may have resulted from a wrestling course mandated by the school curriculum, but this explanation is seemingly brushed aside as social services double down on their investigation of Mihai and Lisbet. Even the children’s religious upbringing begins to work against their parents when they are questioned about conditions at home. Having been raised to believe that lying is a sin, the children answer their interrogators honestly, admitting that their father occasionally gives them a gentle spanking on the backside. Unsurprisingly, these revelations only strengthen the case against their parents. Before long, the children are removed from the family home and placed with foster carers, while social services turn their attention towards legal proceedings, seemingly determined to bring Mihai and Lisbet to justice.
The situation grows increasingly uncomfortable, particularly as the film leaves us questioning whether the authorities see the full picture or are simply building a case around evidence that supports their suspicions.
CHILD ABUSE OR AN ABUSE OF POWER?
What follows is a deeply personal character study, as the moral implications of both sides’ actions come under increasing scrutiny. Lisbet, in particular, finds the government’s intervention almost unbearable when her newborn baby, whom she is still breastfeeding, is torn from her arms and placed into foster care. She is left expressing milk for daily deliveries, but despite these arrangements, the restrictions prevent her from seeing her child. Watching her heartbreak unfold is genuinely harrowing, drawing us further into the debate and challenging us to consider where our sympathies lie.
It’s a fascinating watch, one that gives audiences a subject of genuine substance to sink their teeth into. And it is this compelling story, coupled with Cristian Mungiu’s deeply intimate screenplay and Tudor Vladimir Panduru’s incredible cinematography, that makes Fjord such a winning combination.
VERDICT
Overall, Fjord is a morally compelling and thought-provoking piece of modern cinema, more than worthy of your box-office ticket. With its fascinating storyline, breathtaking cinematography, and brilliant, deeply resonant performances from its leading cast, the film is a triumph of independent cinema and deserves to be experienced on the big screen. Whichever side of the fence you find yourself on, this story is guaranteed to spark debate among friends and family as the consequences of actions taken by both the state and the family come under the spotlight.
At its heart, Fjord shines a light on the grey areas between religious freedom and modern society, opening up a conversation that feels both timely and long overdue. So head to the cinema, book a ticket, and prepare to choose a side in this jaw-dropping family drama. One thing is for certain: you’ll never see Sebastian Stan in quite the same light again!
Fjord brings the family drama to cinemas from November 13.
Meet Phil Roberts! He’s the dedicated owner, daily content manager, and editor-in-chief of The Future of the Force. Phil is a budding novelist who turned his passion toward writing about the franchises he loves back in 2016. He’s a huge fan of all things Star Wars, Batman, DC, Marvel, Star Trek, Indiana Jones, Ghostbusters, King Kong, and the Ray Harryhausen movies. Phil is a BFI-accredited journalist and a distinguished member of the Film Critics Association UK.
If he’s not catching a movie at the cinema, you can bet he’s streaming something just as awesome!
