THE STORY – Marie, a former housekeeper, plans an extravagant dinner party for her engagement to the household’s patriarch. As preparations unfold, hidden aspects of her past begin to surface, threatening to disrupt the celebration.
THE CAST – Mathilde Arcel, Carsten Bjørnlund, Thorbjørn Hedegaard, Marina Bouras, Mia Plantin, Sofia Nolsøe, Flora Yde Sander, Mikael Birkkjær & Joen Højerslev
THE TEAM – May el-Toukhy (Director/Writer) & Maren Louise Käehne (Writer)
THE RUNNING TIME – 124 Minutes
Plenty of movies have tackled the subject of World War II. It’s a significant moment in time, for sure, and it feels like every single aspect of it has been covered at this point. Plenty have sought new avenues and topics to dissect under this umbrella, and no doubt many more will be unearthed in the years to come. Lost in that conversation, however, are the effects that take root once the fighting has ceased. When armies surrender and soldiers return to their homeland, the mood of nations irrevocably shifts. Citizens’ perceptions are shaped by what happens during such conflict. Where one’s allegiance was placed in the past can have grave consequences for the standard of life in the present, no matter what justifications may have been used to endure such hardships. “Woman Unknown” is keen to explore this perspective, and the result is a gripping portrait of tension that forces individuals to survive at any cost.
The war to defeat Hitler and the Nazis has concluded, and the citizens of Denmark are attempting to reclaim their national identity following their occupation. Among them is Marie (Mathilde Arcel), a nanny and housemaid working for a wealthy businessman, Christian (Carsten Bjørnlund). He’s a widower with a young child and is soon to marry Marie, elevating her status above the rest of the staff. While Marie is out to have her wedding gown altered, she has a chance encounter with Karl (Thorbjørn Hedegaard), a figure from her past she is uncomfortable seeing again. It’s a connection that threatens to expose her secret: the sexual affair she had with a German officer. As the country’s resistance group continues to track down suspected collaborators, suspicion about her personal history intensifies. Now she must evade any suggestion of impropriety, lest the delicate mountain she hopes to finally surmount come crumbling down.
From the very first frame, as the camera descends from above into what appears to be the cavernous depths of an intimidating home, director May el-Toukhy expertly establishes an uneasy tone that persists throughout the film. Marie’s anxiety is communicated through the stark framing, often isolating her in large spaces or shot through cleverly conceived mirror reflections. The sounds feel amplified, as if senses are on edge to hear every whisper that could mean a fatal implication. Jasper Spanning’s cinematography creates a horror-like texture, with shadows casting ghostly halos across the images and emphasizing the dread around every corner. Some flourishes push a bit too far into the stylized realm, especially in numerous sequences where a more fantastical tone appears during scenes overlaid on one another. It’s a tactic that calls too much attention to itself and is unnecessary when the rest of the filmmaking is so captivating in its reserved nature. The camera is steady, building that tension and stress to what feels like a breaking point. The atmosphere is heavy but alluring with every new beat of discovery within the story.
That narrative, conceived by el-Touhky and Maren Louise Käehne, is one that is fascinated by the shifting moralities that occurred during a time of post-war life. It establishes a framework of mystery, inviting the audience to follow this character so the questions surrounding her backstory can be answered. It’s an intriguing start that allows the storytelling to examine the lengths she will go to continue to justify her actions. As women are paraded in the streets, hair completely cut off for public ridicule and shame for their actions with the Nazis, Marie is aware of what is at stake. She denies, conceals, and throws accusations at others in order to avoid seeming suspect. These are tactics that are similar to those used by those who tried to find their place within the occupying force. It’s a morally compromising position, and it’s compelling to watch unfold. This character is willing to go through further degradation to keep her status, even sacrificing the safety of innocent parties to avoid such punishment. But it’s still a system that can be selective in its prosecution. Her fiance/employer does not interfere with any investigation, even though he profited from German businesses all the same. The web is complicated, and a stimulating journey to trek. The third act features a dramatic escalation of stakes that clashes with the more austere tone, a less effective turn that causes the momentum to lose steam by the end. However, the screenplay has plenty of absorbing qualities to its execution all the same.
Arcel’s central performance is also quite riveting. She embodies an aura of meekness that makes her seem overwhelmed by these situations, but there’s always a plan to be hatched. It’s a frenzied mentality with total awareness of the danger lurking around every corner. The sheepish quality should not be underestimated in her tenacity to stay safe, just as previous choices led to this moment as well. The combination of petrified terror and insidious motivation gives her portrayal tremendous impact. It’s by far the most impressive among the cast, though the supporting players are decent as well. Bjørnlund’s sternness is well-suited for the role, and Hedegaard is chilling in his part, which has an unpredictable menace to it. A small turn from Sofia Nolsøe as Marie’s neighbor is brief but completely alluring, and it’s another example of a fine cast that gives this environment a believable texture.
The element regarding “Woman Unknown” that is most appreciated is how it effectively crafts a sense of peril that can infect every corner of one’s mind. Tracking that paranoia through the viewpoint of someone who may have suffered greatly but is terrified of being exposed for their actions is a nuanced character construction. Sympathy and rage can be felt for her, and it’s this exploration that is so enthralling. The filmmaking is impactful, with the imagery it assembles and the tone it establishes. The storytelling is provocative, with the character study it creates. The performances are all impressive, with the central lead being particularly noteworthy. The film is an engaging dissection of the changing dynamics that were left in place after such brutal and violent conflicts. As a new battle emerged to fight on behalf of huge sections of humanity that were lost, other stories in this gray area are just as enthralling.
