An idyllic family holiday takes a sinister turn in The Last Resort, the latest drama from Norwegian director and co-writer Maria Sødahl. It follows Danish married couple Louise (Danica Ćurčić) and Mikkel (Esben Smed) who are enjoying a well-earned break in Gran Canaria with their young daughters Sille (Sif Lucca Gersby) and Ella (Chili Olivia Jensen). One evening while driving back to their digs, they hear a thud as they hit Afghan refugee Ahmad (Aziz Çapkurt) in the road. They give him some cash and drive him to the nearest hospital but as their victim turns up at their luxury hotel the following day to ask for more money, their dream getaway soon becomes a living nightmare.
We’ve seen many a plot begin with a late night car accident but this razor-sharp narrative subverts our expectations throughout. Penned alongside Therese Hasman and Eske Troelstrup, their incisive script constantly confronts and challenges its audience, making us complicit in the complex cocktail of guilt and doubt felt by our protagonists. Further compelling conflict comes through the cracks exposed by the inciting incident in the relationship between Louise and Mikkel; as they clash with locals, fellow guests, each other, and even their own children to an extent, Sødahl deftly weaves class, privilege, and immigration into her contemporary moral tapestry.
Subtly drawn for the grown-up themes explored in the screenplay, the performances feel lived-in and nuanced. Collapsing onto the bed on arrival and having one too many wines at the all-inclusive restaurant, Ćurčić and Smed make their slightly jaded couple likeable but most importantly, relatable. When they’re faced with their dilemma, we are too, and we root for them to do the right thing even when it’s unclear what that is. Çapkurt is excellent as well; at the heart of all the drama and tension, he portrays his desperate character with openness and vulnerability but manages just a pinch of mystery that plants a seed of uncertainty in our mind.
Alongside the main story, we witness a stray ginger cat skulking around the resort only to be welcomed in and cared for by the daughters, Sille and Ella. Without the wariness that comes with age and wisdom, this act of kindness from children acts allegorically against the central premise. It’s a masterful storytelling move from director Sødahl that adds another layer of intrigue to The Last Resort, a film endlessly rich in ideas that not only forces us to reckon with the choices of its characters, but with our own interpretations of the repercussions.
Cinema Perspective 