As Europe becomes an increasingly divided political landscape, it provides fertile ground for writer and director Cristian Mungiu, a figure of Romanian New Wave whose films usually explore his home nation’s contemporary society. Loosely inspired by a true story, his latest piece is legal drama Fjord which, as the title would suggest, is set in a remote village in left-leaning Norway. When Mihai (Sebastian Stan) and his wife Lisbet (Renate Reinsve) relocate there from Bucharest with their five children, their evangelical Christian views go against the grain of the progressive community and conflict occurs when a teacher from the local school makes an allegation of child abuse against the couple.
The film’s rather ironic poster features a wholesome grinning portrait against the beautiful mountainous backdrop of the Gheorghiu family’s new home. However, the smiles are in actual fact few and far between in Mungiu’s subdued, sombre tale. Stunning sequences of snow and icy waters are breathtaking, warmed only by the slow-burn narrative that takes its time to set the scene of its pivotal clash of cultures. Once the plot finally thickens, a fascinating courtroom battle ensues and this is where the film is at its best. Interestingly, the film itself doesn’t appear to take a strong stance on either side of its many compelling debates; with challenging themes on religion, immigration, welfare, sexuality, and even a euthanasia subplot, the impartiality is weirdly radical but also leaves a distinct lack of dramatic heft.
Best known for his work within the Marvel Cinematic Universe as Buckie Barnes, mainstream audiences might be surprised to learn that Sebastian Stan is Romanian born. Physically disguised with his bald head and glasses, he skilfully disappears into the role of Mihai and is allowed the rare opportunity to act in his mother tongue. Having worked together a couple of years ago in psychological thriller A Different Man, he reunites with Renate Reinsve, the darling of Nordic independent film. They each deliver excellent, nuanced turns that work within the complex nature of the story. The same unfortunately can’t be said for an otherwise middling cast – the teenage actors give particularly flat performances which is disappointing given the potential of the premise and their pivotal parts within it. Definitely intriguing more than it is gripping, Fjord is a thoroughly thought-provoking but oddly unfulfilling cinematic experience.
