In the realm of horror, there’s a long history of films about scary kids, including notable entries like 1960s creepy Village of the Damned and 1984's campy Children of the Corn. In Norwegian filmmaker Eskil Vogt's sophomore effort, The Innocents, four children (aged 7-11) establish a telepathic bond, leading them to some dark and deadly places.
It starts with a move to an Oslo apartment complex. It’s the heart of summer, and few kids are around, but new arrival Ida (Rakel Lenora Fløttum), a moon-faced blonde, meets Ben (Sam Ashraf), an equally bored kid, who reveals that he can move random objects, like bottle caps and Frisbees, with his mind. When they meet Aisha (Mina Yasmin Bremseth Asheim), who can communicate telepathically, they become a trio (Aisha has vitiligo, a condition that causes uneven pigmentation).
Vogt signals early on that Ida is a bit of a bad seed, like the way she plays tricks on her autistic sister, Anna (Alva Brynsmo Ramstad). She sees Anna as someone who doesn’t feel pain rather than as someone who can’t express it. Ben, however, presents an even more difficult proposition. When he tortures an animal, it's the first sign of a cruel streak that will spiral out of control, leaving Ida wondering what she got herself into. Initially, though, she puts her misgivings aside, and the kids form a pack, sharing skills and forming a psychic link. Even Anna gets involved since Aisha can talk to her in a way the others can't.
As Ben's power grows in proportion to his inability to control it, he starts to injure--and even kill--other tenants, either by forcing them to harm themselves or others. If he uses his power for ill, Aisha uses it for good, which leaves Ida and Anna stranded somewhere in the middle. Once Ida realizes the extent of the damage Ben has done, she decides she has to stop him.
Since 2006, Vogt has co-written all of Joachim Trier's films, including 2021's The Worst Person in the World. With the exception of Thelma, which incorporates supernatural elements, his film doesn't have much in common with Trier's, which usually revolves around young adults trying to make sense of the world. Adults play a role in The Innocents as distracted parents, though Vogt focuses almost exclusively on the kids, eliciting strong performances, especially from Flottum and Ashraf.
If it's clear that the kids share Stephen King-like superpowers, Vogt never explains their origins, other than as extensions of their thoughts and fears. They're also so specific to the kids as to suggest a sort of mutual delusion. In his refusal to spell everything out, Vogt has crafted the kind of film that calls out for a second viewing to fully unlock its secrets. If it isn't as scary as its premise suggests, aside from the shadowy dream sequences, each of the kids elicits sympathy--even lonely, lethal Ben.
What type of library programming could use this title?
Library programming focused on horror and Scandinavian cinema would do well to include The Innocents, particularly during Halloween (though unrated, some sequences may be a bit much for younger viewers).
What kind of film series would this narrative film fit in?
The Innocents would provide an excellent fit for a film series involving Scandinavian cinema and supernatural horror. Consider this title for a public screening during the Halloween season.
What kind of film collection would this title be suitable for?
The Innocents would be a fine choice for drama, horror, and fantasy shelves in public libraries.