{"id":767,"date":"2023-09-17T10:00:00","date_gmt":"2023-09-17T08:00:00","guid":{"rendered":"https:\/\/www.senses.se\/en\/review-avgrunden\/"},"modified":"2026-03-21T18:18:12","modified_gmt":"2026-03-21T17:18:12","slug":"review-avgrunden","status":"publish","type":"post","link":"https:\/\/www.senses.se\/en\/review-avgrunden\/","title":{"rendered":"Review: Avgrunden"},"content":{"rendered":"\n

The Abyss<\/em> is currently available on Netflix and has also been released as Sweden’s first UHD edition<\/a>.<\/p>\n\n\n\n

Frigga (Tuva Novotny)<\/strong> serves as the security manager for the Kiruna mine, while simultaneously managing her responsibilities towards her two teenage children, Simon<\/strong> and Mica (Felicia Maxime)<\/strong>. Unexpectedly, her new boyfriend Dabir (Kardo Razzazi)<\/strong> arrives ahead of schedule, leading to awkward encounters with her ex-husband Tage (Peter Franz\u00e9n)<\/strong>. Suddenly, seismic activity rocks the town of Kiruna, and Frigga realizes the entire city is on the verge of collapsing into the mine. With time running out, she must strive to ensure everyone’s safety before disaster strikes.<\/p>\n\n\n\n

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In June, during my visit to Brussels, I had the opportunity to interview director and screenwriter Richard Holm<\/strong><\/a> about the film’s genesis and the collaborative screenwriting process with his son, Robin Sherlock Holm<\/strong>. Anticipating its release, I was genuinely hoping for a positive viewing experience, as the project seemed to stem from genuine passion. Thus, I entered the cinema with considerable anticipation.<\/p>\n\n\n\n

Swedish genre film has often been a term of derision. Premiered films have frequently faced ridicule and been shunned by certain circles. A particularly disheartening interview exists with Anders Jacobsson<\/strong> (director of Evil Ed<\/strong>), where he faced condescension for creating a Swedish splatter film. Similar experiences were shared by Mats Helge<\/strong> (Ninja Mission<\/strong>) and, initially, Anders Nilsson, before gaining wider acceptance with the Johan Falk<\/strong> films. However, with the current presence of two Swedish horror films, Canceled<\/strong> and Karusell<\/strong>, in theaters, the Swedish film industry appears to have finally<\/em> acknowledged that film serves as a medium for entertainment<\/em>, extending beyond social realism, Nordic Noir, and crime dramas.<\/p>\n\n\n\n

The Abyss<\/em> is a remarkably ambitious film. While its budget of approximately 90 million Swedish kronor may seem modest by American standards, it represents one of the largest budgets in Swedish film history. For context, a low-budget film in the USA typically commands at least<\/em> three times that amount.<\/p>\n\n\n\n

Richard Holm and his team have effectively utilized the available funds, prioritizing a smaller number of high-quality, visually impressive effects shots. Commendable is the demonstrated commitment to employing practical effects wherever feasible.<\/p>\n\n\n\n

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