Sebastian Stan (left) and Renate Reinsve (right) as Mihai and Libset Gheorghiu in NEON’s “Fjord.” (Image courtesy of Cristian Mungiu)
Cristian Mungiu’s latest film is currently the most buzz worthy project circulating in the international film industry after winning not only a Palme d’Or but being hailed by critics as a strong contender at this year’s Academy Awards.
Filmed in the landscape of Norway, “Fjord” follows the story of Mihai and Lisbet Gheorghiu, a Romanian father and Norwegian mother who relocate with their children to a remote village in Norway. However, their conservative beliefs begin to conflict with those held by the village when allegations of physical abuse towards their children surface.
While the film takes place in Norway and seems simple compared to the oversaturated CGI-based films audiences see on their screen today, much thought was put into the creation of this film. “Fjord” is cast by the cloudy landscapes and the harsh winters of Norway. In film, the scenery can be used as a way to reflect the emotional turmoil of the characters and to entice audiences to feel a certain way. This was certainly the case after Mungiu describes an anecdote from filming.
While shooting on location, a harsh storm broke out directly outside the house. Rather than rescheduling or overlooking the storm, Mungiu decided to use the storm to his advantage, filming a scene where child protective services reveal to Lisbet that her children are being placed into protective custody amidst the gloomy atmosphere. However, he wanted the storm and the winds to be clearly seen, quickly hanging a flag to have the force of the wind be reflected on the screen.
Renate Reinsve with Lisa Loven Konsli and Ellen Dorrit Petersen in NEON’s “Fjord.” (Photo courtesy of Cristian Mungiu)
“I allowed that flag to be part of the film,” Mungiu told CU Independent. “I thought that it speaks a little bit about what [Lisbet] is experiencing as well as her character. And as much as I like my films to be somehow rational, I like when people are feeling what the characters feel… All of a sudden, the fact that you are feeling what she was feeling, this kind of frustration also through this visual language of this flag…I let it be included in the film.”
Mungiu’s goal, however, is not to have the audience feel sympathy for the characters. Instead, he challenges audiences to expose themselves to perspectives they may not be aware of.
“This is why I decided to take from the beginning this kind of neutral position of, if you wish, a moderator which is trying to bring in front of you two different sets of values quoting what these people believe and not claiming in any way that this is the truth,” Mungiu explained. “So from this perspective, the film is asking way more [of] you as a spectator than a regular film to use your critical spirit that you need to use in your life.”
The film never clearly states that the Gheorghius are overly abusive or if they are victims of the judgement of a non-tolerant society. Instead, the film makes it clear that the answers to these questions are irrelevant. The only thing that matters is exposing audiences to others’ perspectives, encouraging them to consider other viewpoints before deciding what they believe.
Renate Reinsve’s Lisbet Gheorghiu with Sebastian Stan’s Mihai Gheorghiu and Vanessa Ceban’s Elia Gheorghiu in NEON’s “Fjord.” (Photo courtesy of Cristian Mungiu)
The intolerance of others’ views has never been more prevalent than today’s society. Politics has become extremely radicalized where people are pushed towards ideological extremes. According to the University of Cambridge, “20% more people in the left‑wing cluster of the population now call themselves Democrats…than in 1988. While 30% more people in the right‑wing cluster now call themselves Republicans.” This drift towards ideological partisanship “makes average positions more extreme, and widens gaps between US citizens,” as people refuse to live in shades of gray.
“They tend to be imposing their values to the others instead of practicing these values that you are claiming,” Mungiu said. “If you are more inclusive to the others, more tolerant, try to defend even people that don’t share the same views as yours,” Mungiu encouraged.
These ideas were part of the reason why Mungiu decided to tell this story. While Fjord was written by Mungiu himself, the story is loosely based on the Bodnariu family who faced similar allegations in Norway as a Norwegian-Romanian family. Mungiu spent years documenting the lives of this family, discussing their case with them as well as their lawyers. However, he makes it clear that the case is not black and white.
“I couldn’t tell what happened in the family. I couldn’t tell what’s the truth, what was the degree of violence for example in this family,” he explained. “In most of the cases, you don’t know. And you still need to make a choice and the choice is going to be based on your assumptions and it’s that moment when your beliefs as a citizen might influence your choice.”
This film is not a recreation, but rather a representation of the conflicting beliefs that occur in today’s society.
While the film may not be marketed as a true story, it is an honest representation of the radicalization occurring in today’s society. With people’s differing beliefs, many decide to stay in their bubble and only value their own beliefs rather than tolerating others’, leading to separation opposed to unity. Rather than asking audiences to judge the Gheorghiu family, Mungiu uses their story to focus on the intolerable society we live in and asks audiences if their bubble of values further divides communities today.
Contact CU Independent staff writer Arsema Mulushewa at Arsema.Mulushewa@colorado.edu
