Cristian Mungiu's 'Fjord' Explores Cultural Clashes and Child Protection

Romanian filmmaker Cristian Mungiu, known for his critically acclaimed works such as "4 Months, Three Weeks and Two Days" and "Graduation," returns with "Fjord," a searing legal and familial drama that earned him his second Palme d'Or at the 2026 Cannes Film Festival. The film delves into the human cost of systemic oppression and bureaucratic fault lines, this time by exploring the clash between individual morality and societal codes through the lens of a religious immigrant family in Norway.

"Fjord" follows Mihai and Lisbet Gheorghiu, portrayed by Sebastian Stan and Renate Reinsve, respectively. Mihai, a Romanian engineer, and Lisbet, a Norwegian nurse, have moved to Norway to be closer to Lisbet's family. They raise their five children with a conservative ethos, which sets them apart from their liberal neighbors. Tensions escalate when school officials report suspected child abuse after noticing bruises on one of their children. The Norwegian child protection services, known as Barnevernet, intervene, separating the children from their parents. The separation occurs after the couple admits to administering physical discipline, considered mild in their culture but illegal in Norway.

The Gheorghius claim they are being discriminated against due to their religion and conservative beliefs. They enlist the help of Mia, an attorney and neighbor, to represent them in Norwegian court. Mungiu emphasizes that the film is fictional and not a direct reenactment of any single case, but it was loosely inspired by real-life situations that intrigued him, particularly the Bodnariu family case. In 2015, the Pentecostal parents Ruth and Marius Bodnariu were separated from their five children, sparking international protests against what many perceived as harsh and hasty actions by Norwegian social workers.

Mungiu noted a pattern in cases involving families immigrating to Scandinavia from more conservative regions, leading to cultural clashes. He began developing "Fjord" with the realization that the world was becoming increasingly illiberal. "I thought that through this story, I could talk about the confrontational state of the world today," Mungiu stated. "People are not listening to the other group. I hope that the world can be a bit more rational than this."

To research the film, Mungiu spent extended periods in Norway, studying child protection laws and examining relevant cases. His process involved speaking with families involved in child protection cases, journalists, court interpreters, police officers, NGO representatives, and various religious groups. He also engaged with Barnevernet to understand their general practices and how they had evolved.

Mungiu explained that obtaining direct records of the Bodnariu trial was not possible because Norwegian authorities stated only the family could access them, and the family feared arrest if they returned to Norway. This lack of access contributed to "Fjord" being largely fictionalized.

Mungiu employed long shots and continuous takes to immerse the audience in the characters' world neutrally, avoiding what he considers manipulative mainstream filmmaking techniques. "I don't use coverage. I don't use music. I don't have funny angles," he said. "The camera doesn't move unless it follows a movement in the shot. I try to do this in a sober way, just with the actors and their emotions."

The film's locations were carefully chosen to underscore themes of isolation and communication breakdown. Mungiu sought out a small community situated at the end of a fjord, creating a setting where characters would eventually be compelled to interact. Interestingly, he noted that the real inhabitants of the two houses used for filming, initially not speaking to each other, began communicating normally after the film crew's involvement.

During his research, Mungiu discovered that Norway, contrary to his initial assumptions, has deeply rooted religious leanings, particularly among older generations, and a notable interest in new neo-cult movements among younger people. This led him to remove scenes that implied Norwegians were more rational simply due to a lack of religion. "Making decisions on rational grounds is of course a very good thing to do," Mungiu explained. "But there is also this need of belonging to something bigger than just rationality that we all feel."

Mungiu also learned about the Sami people and drew parallels between their historical treatment by larger communities and the treatment of Native Americans in the U.S. He cautioned against the idea of forcefully imposing one's values on others, suggesting that true integration requires mutual respect and dialogue. "You shouldn't answer radicalization with radicalization," he advised.

He hopes "Fjord" encourages dialogue and reflection on contemporary global ideological conflicts. "I took the risk of talking about things that people need to listen to even if they’re not nice," Mungiu said. "It's time to start to have a dialogue and this is what cinema can do."