"To err is human, to forgive divine," (Alexander Pope) is a sentiment that deftly sums up DeUsynlige (Troubled Water). The film, directed by Norwegian auteur Erik Poppe, is a humanist meditation on forgiveness, atonement and reformation in light of terrible loss and grief. The film examines these themes by depicting the story of a child's death from both the perspective of the perpetrator (Jan) and the victim's mother (Agnes). Recently released from prison after serving eight years for the murder of Isak, Jan finds work as an organist at a neighborhood church where he struggles to move forward with his life. He finds solace in a relationship with Anna (the pastor) and her son who bears an uncomfortable resemblance to Isak. Just when his life begins to stabilize, Agnes (Isak's mother) sees him and wants Jan to answer for Isak's death. This chance meeting begins a spiral of events that explores and transforms the characters lives. The story may be small in scope but it explores big, ambitious themes with the most prominent being forgiveness.
DeUsynlige is, at its heart, about the struggle of a perpetrator to seek forgiveness and of a victim to forgive. Though he would never admit it, Jan needs forgiveness. His inability to seek it stems from his belief that he did not kill Isak. An example of this is a confrontation between Jan and Agnes's husband in which Jan is unwilling to concede even the slightest bit of responsibility or remorse. Flashbacks throughout the film eventually reveal this conviction as mere cognitive dissonance. Jan's character is haunted by the past and is characterized as erratic and torpid throughout the film as a result. Without owning up to his mistakes, Jan cannot move forward with his life in any meaningful way no matter how hard he tries to atone. Much in the same way, Agnes is stuck and remains a victim as long as she is unable to forgive Jan. She lives her life in fear as indicated by her overprotective behavior towards her own children. Agnes's extreme reaction to Jan's release and her eventual confrontation with Jan wherein both characters find closure is shown to be part of the healing process. In the end, Agnes finally learns the truth about her son as Jan finally admits that he knowingly let the boy drown. Jan can finally ask for forgiveness and Agnes can now, perhaps, offer it. It is a testament to the filmmaker that the resolution is left somewhat ambiguous. Though the importance of forgiveness is heavily stressed, it is not possible without atonement.
Though Anna says to Jan that atonement is more important than forgiveness, it is the combination of forgiveness and atonement that gives Jan and Agnes absolution at the end of the film. From the very beginning, Jan is established as someone who has reformed. He was released early from prison (he only served 2/3s of his term) and immediately got a job at the church. His relationship with Anna and her son gave him stability and the chance to prove that he has changed. Yet, this is not enough. Without forgiveness, Jan is still stuck in the past.
The religious setting of the film allows Poppe to explore the role of religion in modern society. The film takes a positive though somewhat ambivalent view of the church. Human forgiveness is given precedence over divine forgiveness and religion is used in a precursory and symbolic way. The church gives Jan a second chance and, though he does not believe in God, spurs him to seek forgiveness.
DeUsynlige is a very humanist film and treats the issue of criminal reformation in a very positive way. By getting Jan's side first, the audience is made to understand his character as someone who wants to reform/atone and move on with their life after what (as far as the audience knows at this point) was a horrible accident. Thus, when the film shifts to Agnes's viewpoint her actions seem (plausibly) unreasonable and lacking in understanding until the final reveal in which it is exposed that Jan knowingly let Isak die. This final revelation forces the viewer to reconsider what has come before and decide whether or not Jan has reformed or even if he is worthy of a second chance. This could be troublesome for viewers who see the crime of murdering a child as unforgivable. Jan's character is not helped by Pål Hagen's performance which is so underplayed that Jan comes off as shallow and unsympathetic. A final complaint is that the film fails to answer the question of why Jan kidnapped Isak in the first place and furthermore, why he let him die.
DeUsynlige is a technically polished and thematically ambitious film that is let down only by a weak lead performance and muddled motivation. The film's somewhat unique (or at the very least unusual) narrative structure and its heavy thematic concerns make it film worth watching and one that will linger in the mind.
DeUsynlige is, at its heart, about the struggle of a perpetrator to seek forgiveness and of a victim to forgive. Though he would never admit it, Jan needs forgiveness. His inability to seek it stems from his belief that he did not kill Isak. An example of this is a confrontation between Jan and Agnes's husband in which Jan is unwilling to concede even the slightest bit of responsibility or remorse. Flashbacks throughout the film eventually reveal this conviction as mere cognitive dissonance. Jan's character is haunted by the past and is characterized as erratic and torpid throughout the film as a result. Without owning up to his mistakes, Jan cannot move forward with his life in any meaningful way no matter how hard he tries to atone. Much in the same way, Agnes is stuck and remains a victim as long as she is unable to forgive Jan. She lives her life in fear as indicated by her overprotective behavior towards her own children. Agnes's extreme reaction to Jan's release and her eventual confrontation with Jan wherein both characters find closure is shown to be part of the healing process. In the end, Agnes finally learns the truth about her son as Jan finally admits that he knowingly let the boy drown. Jan can finally ask for forgiveness and Agnes can now, perhaps, offer it. It is a testament to the filmmaker that the resolution is left somewhat ambiguous. Though the importance of forgiveness is heavily stressed, it is not possible without atonement.
Though Anna says to Jan that atonement is more important than forgiveness, it is the combination of forgiveness and atonement that gives Jan and Agnes absolution at the end of the film. From the very beginning, Jan is established as someone who has reformed. He was released early from prison (he only served 2/3s of his term) and immediately got a job at the church. His relationship with Anna and her son gave him stability and the chance to prove that he has changed. Yet, this is not enough. Without forgiveness, Jan is still stuck in the past.
The religious setting of the film allows Poppe to explore the role of religion in modern society. The film takes a positive though somewhat ambivalent view of the church. Human forgiveness is given precedence over divine forgiveness and religion is used in a precursory and symbolic way. The church gives Jan a second chance and, though he does not believe in God, spurs him to seek forgiveness.
DeUsynlige is a very humanist film and treats the issue of criminal reformation in a very positive way. By getting Jan's side first, the audience is made to understand his character as someone who wants to reform/atone and move on with their life after what (as far as the audience knows at this point) was a horrible accident. Thus, when the film shifts to Agnes's viewpoint her actions seem (plausibly) unreasonable and lacking in understanding until the final reveal in which it is exposed that Jan knowingly let Isak die. This final revelation forces the viewer to reconsider what has come before and decide whether or not Jan has reformed or even if he is worthy of a second chance. This could be troublesome for viewers who see the crime of murdering a child as unforgivable. Jan's character is not helped by Pål Hagen's performance which is so underplayed that Jan comes off as shallow and unsympathetic. A final complaint is that the film fails to answer the question of why Jan kidnapped Isak in the first place and furthermore, why he let him die.
DeUsynlige is a technically polished and thematically ambitious film that is let down only by a weak lead performance and muddled motivation. The film's somewhat unique (or at the very least unusual) narrative structure and its heavy thematic concerns make it film worth watching and one that will linger in the mind.