Romanian filmmaker Cristian Mungiu (4 Months, 3 Weeks and 2 Days) returns with Fjord, a family drama starring Sebastian Stan (The Apprentice) and Renate Reinsve (The Worst Person in the World). The pair play Mihai and Lisbet, a deeply religious couple who move with their five children from Romania to Lisbet’s remote hometown in Norway, hoping to build a new life closer to her family. There, they grow close to their neighbours, the Halbergs, whose warmth offers the promise of a fresh start. But the fragile peace begins to unravel when the Gheorghius’ young daughter, Elia, arrives at school covered in bruises. With its stunning yet chilly setting and two excellent central performances, Fjord is an intriguing exploration of the moral dilemmas surrounding parenting, even if its lengthy runtime and occasional lack of intrigue prevent it from reaching its full potential.
The star power of Fjord is instantly recognisable, with Stan and Reinsve delivering strong performances that help keep you invested throughout. Playing a married couple at risk of having their children taken away from them, the two leads have plenty of emotional ground to cover, particularly as they don’t always see eye to eye on how best to handle their increasingly difficult situation. Reinsve’s Lisbet is the quieter of the pair, but both actors handle the emotional demands of their roles brilliantly, making their relationship feel effortlessly believable even when tension begins to rise. The two youngsters playing the couple’s eldest children, Elia (Vanessa Ceban) and Emmanuel (Jonathan Ciprian Breazu), also impress with their handling of some mature material, helping to create a dysfunctional yet convincing family dynamic that you can’t help but root for. Lisa Carlehed (The Tunnel) is another standout as neighbour Mia, who steps in to represent the family in court and, most importantly, offer Lisbet someone to turn to. Stan and Reinsve might naturally draw the most attention, but they’re surrounded by an impressive ensemble that gives the family drama plenty of emotional weight.
The performances are ultimately a vessel for the difficult questions at the heart of Fjord, many of which will leave you discussing the events long after the credits roll. Religion and its clash with modern mainstream beliefs are just the starting point, as Mungiu also examines how children should be disciplined and where parental rights end and outside intervention begins. Rather than offering easy answers, he leaves audiences to make up their own minds, asking us to consider what we would do in the same situation. There’s plenty to sink your teeth into, although the film occasionally struggles to maintain intrigue, hinting at developments that never quite materialise. It’s worth knowing that Fjord isn’t built around shocking revelations or dramatic twists; instead, it takes a careful, measured approach that allows its story to unfold gradually. Unfortunately, the 146-minute runtime doesn’t always work in its favour, with the slower pace making certain stretches feel longer than they need to. It’s far from boring, but those who aren’t fully drawn into the story may find there’s little reward for the time invested.
As the title suggests, Fjord is set against a mountainous Norwegian backdrop that’s truly a sight to behold. The chilly atmosphere makes for an immersive experience, complementing the coldness running through the story, whilst cinematographer Tudor Vladimir Panduru (The President’s Cake) makes excellent use of the surroundings, ensuring the landscape remains an important part of the film. Norwegian mountains are a relatively rare setting for a drama like this, helping Fjord stand out visually whilst giving the story a distinct sense of place. Cristian Mungiu’s direction is equally impressive. As mentioned, he could easily steer audiences towards a particular judgement, but instead trusts them to make up their own minds, allowing the performances, setting and difficult questions at the heart of the story to speak for themselves. It’s a measured approach that gives each element room to breathe, resulting in a well-rounded piece of filmmaking. Technically speaking, Fjord achieves a great deal, with its striking cinematography and confident, trusting direction helping to elevate an already compelling family drama.
Fjord is a compelling family drama that raises plenty of difficult questions without attempting to provide easy answers. Stan and Reinsve are excellent in the lead roles, supported by a strong ensemble, whilst Mungiu’s strong direction and Panduru’s striking cinematography make the most of the film’s stunning setting. Although the lengthy runtime and occasional lulls in intrigue prevent it from reaching its full potential, there’s plenty here to get you thinking, particularly when it comes to the complicated relationship between parental rights, religion and a child’s wellbeing. It may require some patience, but Fjord is a thoughtful and well-crafted drama that stays with you long after the credits roll.
