There is a distinct, intoxicating alchemy to a film festival. To step into a dark theater is to willingly surrender your worldview, trading it for another culture’s lens, another creator’s gaze. This sense of cinematic discovery was palpable at Sydney’s Nordic Film Festival preview of ‘The Last Resort’ (originally titled ‘Paradis’). Directed by Maria Sødahl, this Danish-Norwegian tour de force arrives with the heavy prestige of the Göteborg Film Festival’s 2026 Dragon Award for Best Nordic Film—an honor that, by the time the house lights rise, feels profoundly earned.
On its shimmering surface, Sødahl’s narrative opens as a postcard of contemporary European leisure. We follow a seemingly picture-perfect Danish family as they descend upon an all-inclusive resort in Gran Canaria. The scenery is predictably intoxicating: a sun-drenched coast, an oasis of luxury, and the effortless hospitality of an island sanctuary.
Yet, as the title implies, this “paradise” is a beautifully constructed trap.
With surgical precision, Sødahl peels back the glossy veneer of tourism to expose a rot of socio-political tension. What begins as an intimate holiday drama gradually develops into a razor-sharp psychological and ethical dissection of Western privilege, complicity, and the quiet violence of denial.
The film’s emotional spine rests on the formidable shoulders of Mikkel (Espen Smed, ‘A Fortunate Man’) and Louise (Danica Ćurčić, ‘Unruly’). Both deliver masterclasses in restraint. Initially, they are the archetype of a stable, affluent modern couple. But as the narrative collides with the brutal reality of a local refugee crisis, Smed and Ćurčić brilliantly map the hairline fractures spreading across their characters’ relationship, forcing them—and us—to confront the boundaries of their comfortable empathy.
It is here that ‘The Last Resort’ delivers its most devastating critique, aiming its lens directly at the hypocrisy of modern “performative morality.” Mikkel and Louise at first glance are extremely compassionate and socially aware, yet, when faced with real-life consequences, their actions pivot toward self-protection. Sødahl creates an uncomfortable tension between who these characters *think* they are and what they are actually willing to do when their comfort is leveraged.
In a brilliant narrative counterweight, the children, Sille and Ella, offer a quiet, heartbreaking contrast to the adults. In their uncorrupted gaze, we see that moral apathy is not an innate human trait, but a learned defense mechanism.
Visually, the film is a triumphs of subtext. The cinematography weaponizes the beautiful landscape to reflect the bigger themes of the film. There is a profound eloquence to the framing; frequently, a choice of scenery speaks volumes more than the heavy silences hanging between the actors.
‘The Last Resort’ is not a comfortable watch, nor does it aspire to be. It is an urgent, slow-burning piece of morally complex cinema that refuses to offer easy absolution. Long after the credits roll, it lingers like a fever, demanding that we look into the mirror and ask ourselves: “What would we do if the world’s tragedies arrived at the edge of our sunlounger?”
For lovers of deeply reflective, high-stakes psychological storytelling, this is an absolute masterclass. Do not miss it.
To book tickets to The Last Resort (Paradis), please visit https://nordicfilmfestival.com.au/films/nor26-the-last-resort.
