Intrigo: Dear Agnes Ending Explained (In Detail)

Spoilers Alert:

With INTRIGO: WITH LOVE, AGNES The third part of the “Intrigo” trilogy, based on the novels by Henning Mankell, will be released in the same week as “Samaria”. Returning director Daniel Alfredson remains true to his line of bringing a crime thriller that would be better served on television to the big screen. You can find out more about this in our review.

Henny (Gemma Chan) plans terrible things for her husband…

The plot summary

Agnes (Carla Juri) has recently been widowed and still lives alone with her two dogs in her late husband’s large property. However, her stepson and his girlfriend want to attack her and sell the house if Agnes cannot pay them her share of the inheritance. Her former best friend Henny (Gemma Chan) realizes the young woman’s plight and makes Agnes an offer: She should kill Henny’s husband and would get enough money to keep the house. Agnes is initially disturbed by this request, but gradually realizes that she is more receptive to the unexpected windfall than she thought. Henny explains to her exactly how she imagines her husband’s death and together the women forge a perfidious murder plot…

Intrigo: Dear Agnes Movie Meaning & ending

In contrast to the novels “Death of an Author” and “Samaria” , which were only published a few weeks before the release of the first “Intrigo” film adaptation, Håkan Nesser wrote “In Love, Agnes” in 2015. The structure of the film from a screen perspective Nesser has already shown the first two films here and has now also implemented them for the cinema. Once again, scenes from the present (the two women’s murder plans) alternate with scenes from the past. And the key to all evil lies – once again – buried in the past. This is already indicated by the narrator’s voice returning for the third time, which in the very first scene of “In Love, Agnes” once again points out the effects of the past on the present and future. Especially if you watch several “Intrigo” films in quick succession – and since “Samaria” and “In Love, Agnes” are released in the same opening week, that shouldn’t even be unlikely – you shouldn’t be surprised by the film’s narrative structure .

Agnes (Carla Juri) would like to stay in the big house after her husband’s death.

“With Love, Agnes” is generally the weakest of the three “Intrigo” films, which also has to do with the fact that the dramatic height of the fall here is nowhere near as high as in the two predecessors. In “Death of an Author” the focus was on a thoroughly likeable writer whose dark side gradually revealed itself through flashbacks to his times as a loving partner to his girlfriend. “Samaria” was about the murder of a young girl and the questions of who was responsible for it and what such an event can do to an entire village community. In “In Love, Agnes,” on the other hand, the focus is on two well-off women whose problems are limited to cold-hearted husbands and the possible restrictions on their own standard of living. That wouldn’t be so bad if Agnes and Henny were at least likeable people. But while Carla Juri (“Wetlands”) portrays her widow as a thoroughly thoughtful woman who has to grapple with the loss of her husband, Gemma Chan (“Mary of Stuart, Queen of Scotland”) unfortunately has nothing to add to her stereotype of the frustrated housewife . The interaction between the two women remains superficial until the end; especially through the final act, which is riddled with crime clichés.

Since “Intrigo: In Love, Agnes”, unlike the last crime thriller “Samaria”, does not have chic shots of Antwerp or any other feast for the eyes (on the contrary: the interior design of the noble houses in particular sometimes appears so clinical that (you realize that this is just a film set), you have to look for the film’s strengths elsewhere. And once again, this is above all the emphasis on predictability, on the basis of which “Samaria” could be counted out, but which you can also have fun with. “In Love, Agnes” would be too solid even for an ARD Sunday evening “crime scene,” but the desire to puzzle along doesn’t stop, especially because the story, even at its supposedly most absurd, is actually very easy for crime thriller fans can still easily follow the twist that is easy to understand. There is almost something old-fashioned about it and is reminiscent of “Agatha Christie” and Co., even if Daniel Alfredson is actually far too well served with this comparison.

Conclusion: In the third attempt, the same pattern of the “Intrigo” films is slowly becoming tiring, but anyone who has liked the films so far will not be disappointed by part three, as Daniel Alfredson sticks very much to his self-imposed formulas.

“Intrigo: Dear Agnes” can be seen in selected USA cinemas from October 10th.

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