Photo: Cannes Film Festival<\/span><\/p>\n<\/figure>\nThe only film on this year\u2019s Cannes lineup that delivered a true knockout gut punch, for me at least, was previous Palme d\u2019Or winner Cristian Mungiu\u2019s ice-cold thriller following a couple\u2014the Romanian Mihai Gheorghiu (a fully transformed Sebastian Stan) and his Norwegian wife, Lisbet (the always excellent Renate Reinsve)\u2014who relocate to the remote fjords of the latter\u2019s homeland with their five children. As temperatures drop and the snow piles up, what seemed to be a pastoral idyll becomes something far more sinister: the community that initially embraced this new family grows wary of their devout Christianity. When their eldest daughter, Elia (Vanessa Ceban), arrives at school with strange bruises, assumptions are made that swiftly tear all five youngsters from their parents, courtesy of Norway\u2019s strict child protection laws.<\/p>\n
In the fight to regain custody, there are no obvious heroes and villains\u2014Mungiu provides a clear-eyed assessment of the tormented Gheorghius, particularly the bristling Mihai, whose firm-handed, disciplinarian approach to his kids is unlikely to change. Meanwhile, those implementing these bureaucratic processes could seem heartless, but they\u2019re also just people trying to do their jobs in a nation where adults can sue the state for not adequately looking out for them as children. This is a movie packed with extraordinary shots, quietly heartbreaking performances, and much to grapple with when it comes to our contemporary view of immigration, child-rearing, progressive values, and the negotiation of cultural differences. It\u2019s a forensic, complex slow burn, perhaps to a fault, but its staying power is unrivaled. Mungiu, who took the festival\u2019s top prize back in 2007 for the Romanian abortion drama 4 Months, 3 Weeks and 2 Days<\/em>, could receive yet more awards glory this time around.<\/p>\n<\/div>\n
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