Amazon Prime’s Hanna
Season 1, Episode 5: “Town”
Directed by Amy Neil
Written by Ingeborg Topsoe
* For a recap & review of the previous episode, “Father” – click here
* For a recap & review of the next episode, “Mother” – click here
Marissa (Mireille Enos) is at the morgue, looking to see if a corpse there belongs to Erik (Joel Kinnaman). Of course it doesn’t, and he’s out there somewhere trying not to die from his infected wounds. His daughter Hanna (Esme Creed-Miles) is out there, too. She has her own wounds. She’s made it to London, staying not far from Sophie’s (Rhianne Barreto) place in a makeshift camp and then later in her garage. “I can‘t trust anyone,” Hanna tells her.
There’s worse things than dying
At the CIA, Jerome Sawyer (Khalid Abdalla) is explaining to Marissa she has to take “time off” to recuperate. He just wants her out of his way. He has a frank discussion with her about the “mental health issues” she went through after Utrax. She takes umbrage at his remarks about experimenting on babies. Nevertheless, she’s mandated to therapy, whether she likes it or not.
When Sophie’s going to a party she invites Hanna along, hoping she’ll come. Hanna refuses, but after a while she’s convinced. Incredibly poignant when Hanna goes to the window and stands behind its bar-like shutters, as if back in a cell again. At the same time, it’s like she’s not comfortable in a crowded house and longs for the outdoors, feeling trapped by domestic surroundings. Afterwards, Sophie and Hanna run into Anton (Gamba Cole), on whom Sophie has a big crush. Anton seems like he’s interested in Hanna. Oh, my.
Erik is trying to find his daughter. Elsa (Katharina Heyer) and the others look for her while he tries to get better. He’s defeated. Not only physically— his psychological well-being has been devastated after the secrets of his former life came to light for Hanna. It won’t be easy even when he finds her to create a new bond like the one they used to share. Now, she knows the truth. She’s also out there beginning to get accustomed to a different world, a postmodern one in which all those things she learned back in their Romanian cave will soon be erased. Except for those ass kicker skills.
At home, Marissa is definitely feeling mental effects from her time with Erik. The guilt over Utrax is gradually coming to the surface, seeping out of her mind and into waking life. She hears the crying of a baby somewhere around the apartment complex where she lives, and, at first, it’s almost unclear if it’s really happening. She soon shuts the window to block out the sound reminding her of everything she did to those mothers and their children years ago.
Compelling contrast comes out of the Sophie-Hanna dynamic. On the one hand, Hanna’s got such a complicated history behind her own family. The situation with her father is sensitive in so many ways, from personal to national concerns. On the other hand, Sophie has typical problems that many families experience, and seeing her situation juxtaposed with Hanna’s offers an interesting dichotomy. Aside from that, Hanna hasn’t thought of the implications of being caught on camera randomly at a party, which could lead Marissa right to her if she isn’t careful.
Dieter (Benno Fürmann) gets a visit from Sawyer at his export business, snooping around about Erik. He gets home later to find Sawyer waiting. Things are fast becoming sinister for the father and husband: a sniper’s red dot sight appears on the face of his smallest boy while Jerome speaks cryptically in barely veiled threats.
Later on, as Erik is training to get better, he watches a gunshot kill Elsa. He’s being hunted again. He tries to make a run for it when a group of CIA agents corner him, and he realises Dieter gave him up.
Hanna opts to go see Anton and his friends without Sophie, who’s stuck at home with parents. She sits with everyone and watches scary movies (they’re watching the Dawn of the Dead remake). She’s not a fan. She’s experienced real, horrific violence, and seeing it onscreen triggers her. She only knows violence as real, as a force opposed to her own survival, so seeing it as entertainment likely shocks and confuses her. When a guy tosses popcorn at her like an asshole she kicks him in the nose. She runs out and Anton goes after her, but she rushes away into the night.
The next day, Hanna goes with Sophie and a couple of her guy friends— including Anton— on a ride in the van. They go to the forest, where Hanna wants to be, and just being out there seems to set her soul at ease. While she’s alone with Anton the two of them lie on the bare ground and have sex. Meanwhile in the van, Sophie’s friend comes across the secret papers Hanna was hiding.
And Marissa’s arrived in England, headed straight for Hanna. Shit.
Some people on Twitter say this series is exactly like the movie Hanna. Father Gore thinks they haven’t watched it in a while. The characters are so much more fleshed out, as is the story, and there’s TONS of stuff not in the movie that’s come out here. Maybe people are paying attention to their phones too much while watching these days. To each their own!
“Mother” is next.