It's easy to forget what the superhero genre might feel like from a truly fresh perspective since it's so popular and well-defined. Of course, you may watch The Innocents (De uskyldige in Norwegian) without thinking about it in those terms. There are no capes or costumes, no big action scenes, and not much saving of lives. However, there's something about creating a story with strong characters that taps into the same fundamental issues. On the one hand, this film could be compared to Chronicle from 2012, but without the found-footage element and focusing on much younger, Norwegian-speaking youngsters.
The Innocents is a film about a small group of kids from the same housing complex who become friends over the summer vacation. Ida (Rakel Lenora Flttum) and Anna (Alva Brynsmo Ramstad) are newcomers to the area, and Ida appears to dislike having to care for her older, autistic sister. Ben (Sam Ashraf) is rejected by the older guys in the neighbourhood and appears to have an awful home life, whereas Aisha (Mina Yasmin Bremseth Asheim) has a loving mother who cries in the kitchen when she thinks her daughter isn't looking. Both are from multiracial single-parent households, which contrasts sharply with Ida and Anna's conventionally Nordic appearance and two-parent home, and it is they who show the first hints of supernatural ability.
Ben is partially telekinetic, as he proudly demonstrates to Ida when they first meet, and can redirect the direction of a falling stone with with a thought. Aisha is telepathic, able to read other people's thoughts and emotions over vast distances, and she forms a particular link with Anna, who grows when she finally has someone in her life who can speak with her. They all play together, and their abilities increase as a result. Soon, they'll be able to do more than just party stunts with their brains. They have the makings of heroes (or villains), and in another story, they might rise to these archetypal roles, but in this one, they only dabble.
They are first and foremost children in this brilliantly perceptive writing, and their actions are pure. However, children can be cruel as well as compassionate, and when a youngster can lash out in anger, anguish, or envy with supernatural strength, things can swiftly spiral downward. It helps that the child actors give outstanding performances. They feel like real children in a way that movie kids frequently don't, and they keep the plot grounded despite the science-fictional horrors they have to confront and comprehend. This quality is what makes Vogt's film so moving, and why it doesn't quickly fade from the memory of the audience.
The Innocents appears to be headed for acclaim, and maybe the business can make place for more films like it.
The Innocents is a film about a small group of kids from the same housing complex who become friends over the summer vacation. Ida (Rakel Lenora Flttum) and Anna (Alva Brynsmo Ramstad) are newcomers to the area, and Ida appears to dislike having to care for her older, autistic sister. Ben (Sam Ashraf) is rejected by the older guys in the neighbourhood and appears to have an awful home life, whereas Aisha (Mina Yasmin Bremseth Asheim) has a loving mother who cries in the kitchen when she thinks her daughter isn't looking. Both are from multiracial single-parent households, which contrasts sharply with Ida and Anna's conventionally Nordic appearance and two-parent home, and it is they who show the first hints of supernatural ability.
Ben is partially telekinetic, as he proudly demonstrates to Ida when they first meet, and can redirect the direction of a falling stone with with a thought. Aisha is telepathic, able to read other people's thoughts and emotions over vast distances, and she forms a particular link with Anna, who grows when she finally has someone in her life who can speak with her. They all play together, and their abilities increase as a result. Soon, they'll be able to do more than just party stunts with their brains. They have the makings of heroes (or villains), and in another story, they might rise to these archetypal roles, but in this one, they only dabble.
They are first and foremost children in this brilliantly perceptive writing, and their actions are pure. However, children can be cruel as well as compassionate, and when a youngster can lash out in anger, anguish, or envy with supernatural strength, things can swiftly spiral downward. It helps that the child actors give outstanding performances. They feel like real children in a way that movie kids frequently don't, and they keep the plot grounded despite the science-fictional horrors they have to confront and comprehend. This quality is what makes Vogt's film so moving, and why it doesn't quickly fade from the memory of the audience.
The Innocents appears to be headed for acclaim, and maybe the business can make place for more films like it.
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