‘Sukkwan Island’ Review: A Rugged and Intimate Survival Story Upended by a Fatal Final Twist

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Movies depicting negligent parenting in natural settings have emerged as a niche art-house subcategory over the last ten years. Films such as Matt Ross’ “Captain Fantastic”, Debra Granik’s “Leave No Trace”, India Donaldson’s “Good One” and Philippe Lesage’s “Who by Fire” all focus on children growing up in the wilderness, where their fathers often make mistakes. A common theme across these movies is a caution to stay vigilant when your father proposes a lengthy hiking or camping excursion.

Sadly, no such warning was given to Roy (Woody Norman), the 13-year-old main character, in Vladimir de Fontenay’s new movie, “Sukkwan Island“. Accompanied by his father, Tom (Swann Arlaud), on a long stay at a remote cabin nestled within the Norwegian fjords, Roy is quickly thrust into life-threatening situations as his father becomes increasingly unstable.

The film, inspired by David Vann’s 2010 novel (which garnered multiple awards in France), is a gritty two-person tale that follows a son as he reconnects with his distant father during the harsh and unyielding Nordic winter. Through their ordeal of battling snowstorms, hungry bears, and other perilous conditions, it becomes apparent that the greatest danger isn’t just the external threats but Tom himself – a troubled man, scarred by divorce, who yearns to forge a connection with a boy he struggles to comprehend.

Similar to De Fontenay’s first film, Mobile Homes, which portrayed an underprivileged family struggling in upstate New York, the film Sukkwan Island also carries a strong, immersive quality that helps compensate for some of its weaker dramatic aspects, such as dialogue that may appear stiff or overly obvious at times.

As a captivated viewer, I’m drawn into the stunningly raw and authentic world captured by Amine Berrada (Banel & Adama). This film takes us on a journey into a pristine northern wilderness scarcely affected by human presence. Tom and Roy find themselves battling through towering snowdrifts or braving an icy lake that seems unbearably frigid. When they’re not engaged in other wintry pursuits like chopping wood or tracking elk, they huddle together within a weathered cabin in dire need of renovation – particularly a new roof.

Tom, a Frenchman who parted ways with Roy’s mom (Tuppence Middleton) and hasn’t been involved for quite some time, is the one pushing them to embark on this journey. He dreams that this trip will serve as a transformative experience for Roy, teaching him essential survival skills and helping him appreciate the raw beauty of nature. For now, it appears that his wishes are coming true. However, as the days go by, Roy starts to understand that Tom is self-centered, unstable, and, in essence, reckless – a character reminiscent of certain movie antagonists who exhibit irresponsible behavior, putting both of them in grave danger.

Working under challenging circumstances, De Fontenay manages to establish a genuine rapport with his actors, whose roles fluctuate between scenes of affection and animosity. Arlaud, from the film “Anatomy of a Fall,” embodies Tom as a soul adrift, harboring noble intentions but unsure of parental etiquette. Meanwhile, Norman, who previously acted alongside Joaquin Phoenix in “C’mon C’mon,” illustrates Roy’s deep desire to show love and respect for his father, while simultaneously feeling uncomfortable in his presence.

As winter becomes harsher and more unforgiving, Roy and Tom are driven to desperate measures to stay alive, a necessity that arises when their two-way radio is damaged by Tom, who aims to sever all links with civilization. At this juncture, it’s challenging not to doubt Tom’s recklessness, leading one to ponder if he has lost his sanity. Earlier, De Fontenay hinted at this when Roy found his father’s cache of anxiety meds, but it remains puzzling as to why Tom would go to such lengths just to demonstrate his exceptional survival abilities.

Ah, in the final moments, the director introduces an unexpected, spoiler-free twist to tie up the story’s loose ends. This plot shift does provide a rationale for how events spiraled out of control, yet it feels somewhat contrived, bordering on a convenient resolution. To soften this abrupt ending, several explanatory title cards are added.

In various productions, including the iconic dream season of Dallas or films by M. Night Shyamalan, unexpected plot twists provide an opportunity for viewers to reevaluate their understanding of the story, offering a fresh perspective on the drama. De Fontenay’s film manages to achieve this to some extent, yet in other ways it weakens its own narrative. This doesn’t diminish the strong points of Sukwan Island, particularly the authentic acting and immersive directing style. However, it creates an unsteady foundation, with the potential for the ordeal experienced by Roy and Tom to eventually lose its impact.

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2025-01-26 02:55