Fjord tackles a number of prickly subjects: Scandinavian progressivism, religious devotion, immigrant discrimination, and parental rights, to name a few. Not many filmmakers could weave such concerns into a measured, level-headed narrative, but Romanian director Cristian Mungiu (4 Months, 3 Weeks and 2 Days; Beyond the Hills; R.M.N.) is one of them.
Fjord follows a family of seven who have come from Romania to settle in a small Norwegian town. Lisbet (Renate Reinsve) is Norwegian, while her husband Mihai (Sebastian Stan) is Romanian. Their new life begins promisingly, as both neighbors and school officials are welcoming—even if the head of school somewhat awkwardly promises, “There’s no Dracula here.” Yet their habits as strictly observant and openly practicing Christians begin to raise eyebrows in the steadfastly secular community. Then, a bruise on the teen daughter’s shoulder raises suspicions of another, but not entirely unrelated, kind. (Spoilers ahead.)
We spend most of our time with the family, so our sympathies tend to lean toward them—especially as the legal system quickly moves to take all five of the children away while an investigation ensues. Beyond the most pressing question—are the parents abusive?—others emerge. How can we—and should we—distinguish between the possible physical abuse and the family’s religious beliefs? What is the difference between unhealthy indoctrination and raising your kids to share your values? What is the right balance between accommodation and assimilation when it comes to immigrants settling in a new country?
Mungiu seems intent on not stacking the deck in any direction, though it’s hard not to see the icy landscape as a stand-in for the cold rationalism that has effectively become Norway’s state religion. (As two officials sit with Lisbet in her home to present the charges, notice how the wind causes a large Norwegian flag to blow across the window in the background.) Knotty debates could be had about Fjord’s motivations, to be sure. Richer ones—and these are more likely the kind that the movie hopes to encourage—could be had about the earlier questions I posed. Like fellow Romanian filmmaker Radu Jude (Do Not Expect Too Much From the End of the World, Kontinental ’25), Mungiu offers contemporary portraits intent on exploring society’s messy seams.
(10/8/2026)
