'The Innocents' is a shambles deconstruction of how children acquire morality

'The Innocents' is a shambles deconstruction of how children acquire morality ...

IFC''s new Norwegian supernatural thriller film The Innocents is a narrative based on a variety of abilities that enable them to control their beliefs. It soon develops into a nightmare as young people learn about this immense power. It''s also frightening as it is.

There is a greater cynicism to this story that is written in an honest understanding of how to grow up. Although the innocents may be able to read minds and manipulate objects, there is no kindly balding professor to accompany them. This starts with Ida (Rakel Lenora Flttum) who, however, is not able to talk up about what happened. It is only the beginning of the cruelness that we see.

When Ida and Anna go to a new apartment complex, they notice that he has moved several times and that the delicate design of the film reveals the meaning of the story. However, this takes a horrifying turn that becomes more complex because of its ease of perception.

It is all part of the film''s central pessimism and how it largely succeeds at capturing about youth in a way that most other similar stories do not. Yes, it is built on characters who have telekinetic powers, although it is also most interested in developing these skills as a means to develop their own value system. Sure, it starts with small things like Ida pinching her sister or crushing a worm underfoot. It becomes much more than that as it begins with small things. It

The innocents provides an insight into how even young people create ideas about the world, empowering them to become bigger and more liberated. While it is always in the background in the process of describing the problem, it also reveals how innocence comes from protection and can be lost in a future that will later turn on you without warning.

While it adds value to the film, it avoids imposing certain limitations on Ben, who is not necessarily a villain. Unlike other Norwegian films, it avoids focusing on a simple glance or a holding of hands. Despite these shortcomings, it avoids imposing a negative attitude on these once-innocent children and, thus, us as broken adults.

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