Prisoner–Trapped with No Escape
In this six-episode Danish prison drama (2024), Prisoner, the action pops in the opening scene. Miriam (Sofie Gråbøl) is a veteran prison guard with some compassion for the inmates, perhaps the only one with human feelings for the incarcerated. Until Sammi (Youssef Wayne Hvidtfeldt), of Danish-Arab ethnicity: a new recruit who desires to support prisoners for the good of society at large.
Henrik (David Dencik) is also a veteran prisoner guard, one who has manipulated the prison system for his own self-interest, taking a percentage of the drugs that sedate the prisoners and make them “peaceful inmates”. He advises Sammi on his first day to rattle his keys before entering a cell so that any drugs can be hidden. In addition, Sammi is advised not to stick his hands into dark corners when cells are searched, because razor blades will most likely slice his fingers. The two guards will soon be enemies, and ethnic hatred surfaces.
“The man of the house”, prison warden Gert, iis waiting to retire into the sunset, resigned to living with her dementia-suffering husband. The prison is out of control, and the government is planning to investigate malfeasance and corruption, perhaps closing the facility. Gert will resort to desperate tactics so hell won’t break loose, in order to increase her chances for a golden retirement but also for any future employment for the prison guards under her management.
The plot and subplots deepen, creating an ever more convoluted landscape, not dissimilar from the American series, “The Wire” and “Oz”. Like its American cinematic counterparts, Prisoner reveals each prison guard’s backstory: a family life that is dysfunctional, sexual relationships that are threatening, and gangs outside the prison influencing those within. Miriam’s adult son causes her to compromise her morals and integrity, setting aside her soul and most fundamental instincts. Sammi’s past leaves him isolated and unloved. Henrik lives a lie so personal that it almost destroys his wife and son.
The characters, developed with great precision, cannot be easily dismissed for their decisions. They all accept that violence is a fact of life. This is not a facile “good versus evil” narrative. There are no absolutes; no good guys. Only furious inward screams. Lots of bad guys with reasons for their actions. Small details are gruesome. Everyone is trying to survive, in whatever way they can, but in the end, there is no escape. Prisoner is painfully taut, depressing, and realistic. Nothing ends well. This is not a feel-good movie but Prisoner is a brilliant depiction of the agonizing suffering for all in a system of incarceration, where humanity withers.
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