With a strong ensemble cast, this film excels particularly in its exploration of themes such as fatherhood, and the curious connection that can exist between a father and daughter, despite their apparent emotional distance. Another well-executed theme is maturity and the psychological toll that the passage of time can have on one’s sense of self-worth and self-doubt especially when one has devoted a lifetime to a creative endeavour, as is the case for the character portrayed by Stellan Skarsgård.
Nonetheless, plotlines driven by the presence of Elle Fanning feel somewhat forced and unnecessary. While there is nothing wrong with the acting itself, and her role clearly serves as a source of conflict between Gustav Borg (Skarsgård) and his daughter Nora (Renate Reinsve), the more comedic tone it introduces feels out of step with the film’s otherwise dramatic atmosphere. This contributes to the sense that the narrative stalls at times in its emotional build-up, though it ultimately arrives at a satisfying, if somewhat predictable, resolution.

Having only read the synopsis and not the original book, the tone and focus of the film come as an unexpected surprise. Instead of a survival tale, it presents a family drama that explores the value we place on our own lives and those of others.

The story unfolds through an unconventional structure that keeps you on your toes, making you question whether certain scenes are real or imagined. A delicate piano score preserves the tenderness at the heart of the plot, even though it’s paired with an underwhelming twofold love story.

Several scenes suffer from overacting by three of the four lead actors. The sole consistent performance is delivered by Ramzy Bedia, whose outwardly stoic yet inwardly caring portrayal of the arbiter stands well above the standard set by his companions.