Danish director Gustav Moller's latest film, Sons (Vogter), presents a gripping narrative centered around a female correctional officer named Eva, played by Sidse Babett Knudsen. The story unfolds in an all-male prison, including the maximum-security wing, a setting that may seem unusual to non-Scandinavian viewers but reflects the reality of some Danish prisons.
The film delves into Eva's personal motivation for becoming a prison officer, which stems from the tragic death of her son at the hands of another inmate. When the perpetrator, Mikkel, is transferred to Eva's wing, she becomes consumed by a desire for revenge, leading to a tense and emotionally charged plot.
While the movie meticulously portrays the procedures and dynamics of prison life, it introduces a significant plot hole that challenges the audience's suspension of disbelief. The premise of a staff-prisoner overlap involving the killer of Eva's son raises questions about the plausibility of such a scenario within the Danish penal system.
Despite its visual appeal and strong performances, particularly by Babett Knudsen, Sons struggles to maintain credibility due to this narrative inconsistency. The film's exploration of themes such as guilt, rage, and the complexities of human nature is overshadowed by the implausibility of its central conflict.
Gustav Moller's directorial style, characterized by a focus on institutional settings and character-driven narratives, is evident in Sons as well as his previous works like The Guilty. The film's portrayal of Eva's internal turmoil and conflicting emotions adds depth to her character, highlighting the capacity for violence and vulnerability in all individuals.
While Sons offers a thought-provoking examination of the impact of trauma and loss, its narrative misstep detracts from its overall impact. The film's potential as a compelling and remake-worthy story is hindered by a script flaw that could have been addressed in the pre-production stage.
