The most underrated movie in Netflix history

“Imperdonable” is a tangle of stories, all permeated with a growing melancholy, obstinate in their explicit violence, and which, with the same purpose, lead to the same goal, guided by a single character. Inspired by a television series and with Sandra Bullock at the head of the cast, the film by German Nora Fingscheidt, released in December 2021, begins by combining flashback images with current records, in which one can see a woman’s battle to regain her life . Ruth Slater, the protagonist played by Bullock, gets parole after having served twenty years in jail for the murder of the sheriff, who invaded the house where he lived alone with his sister Katherine, Kate, by Aisling Franciosi, thirty years younger. , since their father, played by Aaron Pearl, committed suicide. The policeman had an eviction notice against Ruth and Kate because the mortgage payments had stopped some time ago. Fingscheidt takes his film into the dangerous terrain of the saga by following Ruth’s life out of jail, deviating from any narrative facilities by showing how she reacts to her many other challenges. If life in prison wasn’t exactly easy, when free, the central character of “Unforgivable” has to find almost superhuman justifications in herself to stay out of trouble, even though she lives in a hovel that accepts former prisoners in vacancies where chaos and filth are the law. Her new home is the cubicle she shares with three other women, as well as a bathroom, shared with all the other residents, with ten minutes a day to shower. As much as she closes in on herself, like a shell at the bottom of an ocean of sorrows, the others seem to know everything about her less than glorious past.

The wheel of fate turns men’s lives around and around and often ends up stopping in the same place. Despite the warning from Vincent Cross, the agent assigned to inspect her performance during the release experienced by Rob Morgan, not to maintain contact with people in any way involved in the crime she had committed, something draws Ruth to the disgrace that had befallen her. life two decades ago. In a hazy visit to the house where he lived with Kate, now inhabited by Liz and John Ingram, roles by Viola Davis and Vincent D’Onofrio, Bullock works on the subtlety that can exist in a heart full of repressed emotions, and then it becomes clear that the world for his old girl has become a place where he cannot feel a part, and that property lost in the middle of the rural area of ​​Seattle, in the northwest of the United States, consists of the parallel dimension in which he returns to life and himself. Ruth goes there and spends a lot of time contemplating that piece of paradise that is no longer hers, until she is noticed by Liz, who asks her husband to find out who the invader is.

Newspapers no longer refer to the place as “the homicide house,” and no one there has the slightest idea who Ruth Slater is. John realizes that the story of that woman, visibly damaged by life, is intertwined with her home and invites her to enter. It is impossible to make any conjectures about Ruth’s less than honorable past just by assessing her appearance – however shabby and disheveled she is -, but John, an experienced lawyer, notes that Bullock’s character contains a great mystery. It is precisely his training that unites them, as Liz’s husband sympathizes with Ruth and proposes to help her. And that’s where “Unforgivable” takes off.

The conflict between Ruth and Liz, who want her far away from her home and her family, is just the smallest part of the intolerance that the protagonist is forced to dodge. Ruth is committed to changing her life — she manifested this desire while still in prison, when she took a professional carpentry course, which earned her a placement in a philanthropic project. As if that work during the day wasn’t enough, she works her shift cutting up and packing fish in a fridge, indicated by Cross, while she tries to get a chance to see her sister again, with John’s mediation. But life for her is a stepmother, and the more she struggles to escape the precipice, the more she misses the ground. Fingscheidt and screenwriters Peter Craig, Hillary Seitz and Courtenay Miles leave it to reveal at the right time, neither too soon nor too late, why Ruth yearns so much for this reunion, the zero point of the new life she pursues. The sequences with excerpts from what Ruth had gone through, when details of the crime finally emerge, come in the form of instantaneous flashes, hinting at new hypotheses for the sheriff’s murder – all in the most elegant way that a film with this dramatic load can, the which, by the way, leads to a completely unexpected, albeit happy, outcome. In “Unforgivable”, Nora Fingscheidt succeeds in interweaving independent plots that come together in some corner of infinity, all linked by a woman in search of redemption.

Film: Unforgiven
Direction: Nora Fingscheidt
Year: 2021
Gender: Drama/Suspense
Note: 9/10

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