I really liked and was fully engrossed in director Vladimir de Fontenay’s “Sukkwan Island” until its ending, which left me feeling a letdown of epic proportions. Set against the haunting backdrop of the Norwegian fjords, this emotionally charged father-son drama blends a story of survival with the weight of unresolved emotional turmoil.
Adapted from David Vann’s story, the film captures the essence of both physical and emotional isolation as a father (Swann Arlaud) and his 13-year-old son (Woody Norman) try to reconnect after a troubled past by agreeing to spend a year on a remote island. What begins as a hopeful journey to rebuild their relationship slowly turns into a struggle for survival in a harsh environment, pushing both characters to their limits.
The performances are believable, but one thing that took me out of the story is that Norman looks a lot older than his character’s supposed age. It’s not the actor’s fault at all, but it made it difficult for me to fully buy into the relationship between father and son because Roy’s age is crucial to the story. The father-son dynamic relies on him being a young, vulnerable kid, and the fact that Norman looks like a high school senior interferes with that emotional connection.
De Fontenay builds tension with his steady, deliberate pacing. Faced with an unforgiving environment and unresolved grief, you begin to feel the growing strain between Tom and Roy as they confront their past and the breakup of their family.
Things get a bit tricky with the film’s ending. The conclusion is confusing at first, but then a big surprise reveal is a bit of a letdown. I left feeling frustrated and deceived by this shock to the narrative, even when the pieces start to fall into place.
Quiet, contemplative, and intense, “Sukkwan Island” is still a powerful film about father-son relationships because it doesn’t shy away from the pain and regret that often come with trying to make up for lost time. It offers a cathartic experience for those who can get past its flaws.
By: Louisa Moore