Favours

The scouts

The entire moral geometry flips halfway through—what starts as a social thriller about public judgment becomes something genuinely unsettling about complicity and assumption, and most festivals would've played it safe and kept the mystery tidy. Skonare doesn't blink; she lets us marinate in our own wrongness.

A formally disciplined descent into hysteria that recalls the precision of Haneke's social experiments, where every platform detail and commuter glance accumulates into something philosophically rigorous about collective suspicion and urban alienation.

The masterstroke is keeping Sonja's face as the emotional register—not the baby's cries, not the platform chaos—so that every micro-expression of desperation or deception becomes the actual plot, turning a single performance into the film's entire architecture.