{"id":598640,"date":"2026-05-22T20:45:14","date_gmt":"2026-05-22T20:45:14","guid":{"rendered":"https:\/\/www.newsbeep.com\/uk\/598640\/"},"modified":"2026-05-22T20:45:14","modified_gmt":"2026-05-22T20:45:14","slug":"cristian-mungiu-on-fjord-with-sebastian-stan-renate-reinsve","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/uk\/598640\/","title":{"rendered":"Cristian Mungiu on Fjord with Sebastian Stan, Renate Reinsve"},"content":{"rendered":"

\n\tNearly two decades after winning the Palme d\u2019Or with 4 Months, 3 Weeks and 2 Days<\/a> (2007), an abortion thriller set in Communist-era Romania, Cristian Mungiu<\/a> is back in Cannes with another challenging, potentially hotly divisive film about the clash between progressive and conservative values and what it means to live in a free society.<\/p>\n

\n\tIn Fjord<\/a>, a Romanian Evangelical family, headed by father Mihai (Sebastian Stan<\/a>) and mother Lisbet (Renate Reinsve<\/a>), moves to Norway, only to be confronted by local welfare authorities, who view their traditional child-rearing methods \u2014 including occasional corporal punishment \u2014 as child abuse. The legal trial that follows becomes as much about their beliefs as about the alleged crimes committed.<\/p>\n

\n\tFjord<\/a> is Mungiu\u2019s first film made outside Romania, and his first shot (at least partially) in English, but the film echoes themes \u2014\u00a0of globalization, cultural conflict and the divide between rich and poor, East and West, traditional and progressive \u2014\u00a0that define his work.<\/p>\n

\n\tThe Hollywood Reporter spoke with Mungiu in Cannes about the real-life inspiration behind the film, working with Stan, and why he believes cinema should provoke debate rather than confirm ideological certainty.<\/p>\n

\n\tWhat sparked the story for this film? Was there an inciting incident?<\/p>\n

\n\tAbsolutely, yeah. Actually, I started from several articles in the press, but particularly one which is very close to what you see in the film, and I started noticing a kind of a pattern of such incidents. Some 10 years ago it was conflict between a Polish family and the Danish authorities, and then a conflict between an Indian family and the Swedish authorities, and then this case of a Romanian family and the Norwegian authorities. Little by little, I saw this pattern of conflict between conservative values and progressive values, and it\u2019s more obvious to see happening in the Nordic countries, because they are the most progressive in Europe.<\/p>\n

\n\tI followed the Romanian case in detail. I ended up contacting the families and talking to them. I went to Norway, to talk to the prosecutors and the judges, to the press and journalists. Finally, I decided to fictionalize the story, not do a reenactment. So this isn\u2019t how it really happened, but the story is not far away from what I discovered.<\/p>\n

\n\tWhat drew you to this particular conflict between a progressive society and a conservative family?<\/p>\n

\n\tWell, I think that it is the main conflict I see around us in our societies today, from the U.S. and France and Italy and descending down from Norway to Romania. I think we live in a very polarized society in which you have these two groups of people who believe that they are right, that they have the one truth, and this has led to a kind of social violence which makes it impossible to live together in the same society. We are divided into groups that became so radicalized that we can\u2019t find common ground.<\/p>\n

\n\tWe see this very often when the results of elections surprise us, because we haven\u2019t talked to these people and we haven\u2019t asked what they think about the society in which we live. <\/p>\n

\n\tI think that it\u2019s important to use cinema to speak about the concerns that we have about the direction in which our societies are going. That\u2019s always the most important topic for me in my films \u2014 to understand the issue of the day.<\/p>\n

\n\tI think that this conflict, which doesn\u2019t have a clear solution, is something that we need to tackle, and we need to look for some answers, because if not, we will just end up killing the others that don\u2019t think the same way that we do.<\/p>\n

\t\t\t\t\t\t\"\"<\/p>\n

\t\t\t\t\tRenate Reinsve and Sebastian Stan with cast in \u2018Fjord.\u2019<\/p>\n

\t\t\t\t\t\t\t\t\tCannes Film Festival<\/p>\n

\n\tThis is your first film made outside Romanian. How different did you find Norwegian society, and Norwegian bureaucracy, which is central to the film\u2019s plot, compared to Romania?<\/p>\n

\n\tFirst of all, it\u2019s important for me to underline that this film is not about the conflict between Romania and Norway. It\u2019s way more than this. It\u2019s the conflict between a layer of society which had access to privilege, education and wealth, access that allows people to be more empathic, and the level of society of people with fewer opportunities which have these conservative views.<\/p>\n

\n\tBut of course Norway is a very different society that Romania, you go there and see they don\u2019t view the world in the same way. When we arrived, we ere locking our doors and taking our wallets with us, and they kept asking us why, saying \u201cWe don\u2019t do that here.\u201d We\u2019d say: \u201cBut there might be bad people around, thieves.\u201d They said \u201cNo, there\u2019s aren\u2019t.\u201d Then we joked, \u201cWell, we\u2019ve brought this big Romanian crew with us, so don\u2019t be so sure.\u201d <\/p>\n

\n\tA big difference working in Norway was they only work eight hours a day. Even film crews! It was a shock for us. I mean cinema was born in California, you need the sun, and you work all day. But little by little, we managed to overcome these differences and focus on things that we have in common. We ended up as a single crew working on the same film.<\/p>\n

\n\tThere\u2019s was a funny incident that shows you the difference between the societies. We found this lovely location with two neighboring houses [to play the homes for the conservative family and their progressive neighbors], and easily convinced one family to let us shoot there, but we couldn\u2019t contact the other owner. We kept asking our Norwegian partners to contact these people, to call this guy, and they kept telling us \u201cWell, we left him a note.\u201d We said, \u201cWhy don\u2019t you go and knock on the door and talk to him?\u201d They said \u201cThat\u2019s not how we do things.\u201d <\/p>\n

\n\tFinally, two weeks before shooting, they found him. They told us, \u201cHe seems like a difficult person. He hasn\u2019t talked to his neighbors for some 10 years.\u201d<\/p>\n

\n\tActually, he was a very nice person, very reasonable and gave us permission to shoot. It turns out he hadn\u2019t talked to his neighbor in 10 years because he never wanted to disturb him. Nobody had started the conversation. <\/p>\n

\n\tEventually, after we shot there, they became very good friends. They needed somebody from outside with a different set of values to come over and show them they had a lot in common. But there was a little too much respect for privacy in the culture. <\/p>\n

\n\tHow hopeful are you that liberal humanism and dialogue are still possible in today\u2019s society, especially in the age of social media, which plays a big role in the film?<\/p>\n

\n\tI\u2019m not this kind of optimistic person saying, \u201cHey, don\u2019t worry.\u201d I don\u2019t think that things go naturally in the right direction. We need to make some effort to keep them in the right direction, always.<\/p>\n

\n\tIf you watch what happens today, we see that people are a little bit tired of democracy, because democracy is not something natural \u2014 it requires effort. Empathy requires effort. We are not born empathic when we\u2019re children. We\u2019re very selfish. This comes with education.<\/p>\n

\n\tWe need to make an effort of generosity, to share our wealth with poorer areas and societies, if we wish the world to advance in the right direction. We can\u2019t just advocate for social liberal causes to people who don\u2019t have clean water. We need to get more involved. We need to understand that people with more resources acquire more empathy. We can\u2019t just vote for inclusion and empathy, we need to practice it. And this requires effort.<\/p>\n

\n\tIt\u2019s not enough to believe our values are good. We need to convince people that they are good, not just enforce these values on them. Because if we do that, they are just going to surprise us every four years when they vote, by being seduced through social media by all these irrational arguments of the populist parties that don\u2019t care at all about ethics.<\/p>\n

\n\tHow do you balance tolerance in a liberal democracy with people who fundamentally reject democratic values?<\/p>\n

\n\tThis is why I made the film in Norway, not in Belarus. There is no debate in Belarus. I come from a communist country. There was no debate about your right to doubt what was imposed as truth in society.<\/p>\n

\n\tBut I hope there is still room in a democratic society to talk about the values that you are having and the most appropriate way of spreading them around. I have a great respect for Norway and for the Nordic countries. It\u2019s a very civilized society. They need to be less rigid in understanding that not everybody was so fortunate to reach this level of empathy.<\/p>\n

\n\tYou need to be patient a little bit, and you need to find ways of engaging in dialogue. It\u2019s not helpful to say, \u201cTrust me, this is going to be good for you.\u201d You still need to convince people and invest in educating people, not enforcing your set of values, even if you are certain that it\u2019s for their own benefit.<\/p>\n

\n\tI think this film is a lot about fundamentalism. If you have a mindset of fundamentalism, it\u2019s not such a big difference between right-wing and left-wing fundamentalism. I think that we should meet somewhere in the middle and start by accepting that some people won\u2019t have the same opinions and values as we have.<\/p>\n

\n\tWere you concerned about making this critique in Norway rather than in your own country?<\/p>\n

\n\tI think they are smart enough to accept criticism, while a conservative society wouldn\u2019t be smart enough to accept criticism. I was very happy to see that their reaction was accepting that maybe they still have things to improve, and this is what I was hoping from such a civilized society.<\/p>\n

\n\tThe danger is more when you\u2019re trying to bring this kind of subtle balance into a conservative society, because there, things are simpler. You don\u2019t have the right to doubt things.<\/p>\n

\n\tI hope that I stir things and create a polemic. The film is just the trigger for a conversation that I think we need to have in society, and I hope that many people will start from the film to feed this conversation and this need of trying to speak openly about things that were not spoken openly about for too long.<\/p>\n

\n\tI think cinema has a part in this as well. I think that films became too political in the last 10 or 15 years, always confirming the \u201cright values.\u201d We need to balance this with films that allow us to express doubts about the values of the day. This is part of democracy and freedom that we need to keep alive as well.<\/p>\n

\n\tHow did Sebastian Stan become involved in the film?<\/p>\n

\n\tI met Sebastian some 10 years ago. He came to see me after a screening in New York of Graduation<\/a>. I think that\u2019s a very funny moment, because his mother drove him 400 kilometers from upstate New York so that we could meet.<\/p>\n

\n\tBecause he speaks Romanian \u2014 he was born in Romania \u2014 we communicated very easily, and we decided that one day we would look for something we could do together, but something that would fit my kind of cinema and his kind of cinema.<\/p>\n

\n\tFor this film, I told him, \u201cI\u2019m sure you can play the dramatic role, I\u2019ve seen that in your other films, but you look too much like a Hollywood star. But this guy\u2019s not [Stan\u2019s MCU character] Bucky.\u201d <\/p>\n

\n\tWe needed some sort of physical change to make him into this humble person raised in a society where he didn\u2019t have any rights. I said: \u2018What if we make you bald?\u201d He wasn\u2019t sure. So we put an ad on Instagram in Norway: \u201cLooking for Sebastian Stan fan that wishes to be shaved to be a stand-in.\u201d We got one, shaved him, did the test and [Stan] liked how it looked.<\/p>\n

\n\tThe bald bit helped him a lot, because he\u2019s a method actor. He needs to be close to the character, and this humbleness and this idea not being proud of how he looks brought him closer to Mihai. <\/p>\n

\n\tIt also helped a lot that he and Renate had worked together before [on A Different Man<\/a> (2024)]. We had very little time to prepare. When they arrived on set we needed to shoot right away. It helped a lot that they knew each other beforehand. They already had the chemistry.<\/p>\n

\n\tDo you worry that the film could be embraced by right-wing groups claiming victimhood?<\/p>\n

\n\tAbsolutely. I think this is going to happen, but it\u2019s a risk that I thought was worth taking in order to defend this right that we\u2019re still having to doubt the values in which we believe, and also to speak about manipulation.<\/p>\n

\n\tAll the films that I did before were manipulated for one cause or another. 4 Months, 3 Weeks and 2 Days was considered either a film defending or going against the right to abortion, and Beyond the Hills <\/a>was considered both a fierce criticism of religion and an Orthodox movie.<\/p>\n

\n\tSo I\u2019m used to it, and I think that we need to use our critical filters when we look at these topics. Expressing doubts about our liberal society doesn\u2019t mean for a second that I\u2019m a defender of a conservative society. It means that I trust progressive society more in its capacity for admitting self-criticism.<\/p>\n","protected":false},"excerpt":{"rendered":"Nearly two decades after winning the Palme d\u2019Or with 4 Months, 3 Weeks and 2 Days (2007), an…\n","protected":false},"author":2,"featured_media":598641,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[27],"tags":[181380,198147,96,198149,718,2839,177558,137088,56,54,55],"class_list":["post-598640","post","type-post","status-publish","format-standard","has-post-thumbnail","category-movies","tag-cannes-2026","tag-cristian-mungiu","tag-entertainment","tag-fjord","tag-international","tag-movies","tag-renate-reinsve","tag-sebastian-stan","tag-uk","tag-united-kingdom","tag-unitedkingdom"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/posts\/598640","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/comments?post=598640"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/posts\/598640\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/media\/598641"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/media?parent=598640"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/categories?post=598640"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/tags?post=598640"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}