While director Elle Márjá Eira’s new screen adaptation for Netflix of Ann-Helen Laestadius’ awarding winning novel Stolen may centre on the oppression of the Sámi people, take away the snowy landscapes and reindeer herds and this is a universal story that could be transposed into numerous communities worldwide.

There’s a fairytale quality to opening scenes, the expansive beauty of frozen northern Sweden belying a simmering tension just below the surface. It doesn’t take long for the pristine white snow to turn red, however, as nine-year-old Elsa witnesses the brutal murder of one of her reindeer. This is far from an isolated attack and the reverberations of the attack are just one of many threatening to upend already fragile relationships between Swedes and the Sámi communities.

The stark frozen beauty betrays a much darker undercurrent, this isn’t just a tale of persecution but of the chilling impact that persecution has on mental health, relationships, and community.

A decade later and Elsa is now a teacher in a local school, torn between a desire to fit in but also her wish to preserve the Sámi culture and stand up for the persecution that authorities, in the main, still turn a blind eye to. The slaughter of the Sámi reindeer herds continues as one brutal cycle – a way of not only attempting to subjugate the Sámi community but also a lucrative black-market trade in poached reindeer meat.

Trade and business also lurk as shady characters here, pressure from big business, in this case iron ore mining, to take Sámi grazing pasture to exploit for natural resources. A prime battle for residents seeing the opportunity to make much-needed income in an otherwise challenging environment.

There’s more to Stolen though than a morality tale of oppressed minorities. This is very much a three-act opera, moving from act one’s portrayal of an idyllic childhood lost, a middle act of despair and darkness, and a final act moving into a dark thriller and redemption.

It starts of as a slow burn but that’s part of the charm of Stolen, and also a fair reflection of this part of the frozen north, where life moves at a different pace to the big urban centres. That’s not to say nothing is going on. Eira’s direction masterfully draws out the detail in a multi-layered screenplay by Peter Birro.

It is a screenplay not afraid to shock. The term Lapp (highly offensive and derogatory to the Sámi) is thrown as a powerful weapon but there’s also no shying away that the Sámi don’t always paint themselves in the best terms.

There’s beautifully observed detail here about the Sámi community – the pressure of continuing hereditary traditions alongside the draw of outside employment, the shifting role of women in a traditionally male-dominated hierarchy and the misunderstanding of the outside world of Sámi culture. There’s a short, but telling vignette of an American tourist fondling the Sámi gákti (their traditional clothing) and asking for a selfie – it’s an innocent act but one that shows the misunderstanding that this isn’t some tourist trail fancy dress but a historical, and traditional culture.

As befits a piece centred around community, Stolen is very much an ensemble piece, by framing the narrative through the eyes of Elsa much of the dramatic focus is on Elin Kristina Oskal’s performance. Oskal doesn’t disappoint, tempering her inner rage with sadness, fear and frustration. It’s a mesmerising performance, with the inner turmoil all too real and palpable. There’s also strong work from Martin Wallstrom as Robert, Elsa’s long-time foe, and Pavva Pittja’s portrayal of Lasse packs a real emotional punch.

Sure, the snowmobile chases and building tension of the final third of the film will appeal to those looking for a Nordic thriller but Elle Márjá Eira’s adaptation of Stolen is a much more nuanced affair, delving as much into the inner battles of the mind as any on the ground tale of revenge.

Stolen may not give us a fully resolved look into the challenges faced by the Sámi population, but it is an important step in sharing the stories of this fascinating community.

Stolen streams on Netflix from 12 April 2024 – why not read Glen’s book review from the novel the film was adapted from.