Amazon Prime’s Hanna
Season 1, Episode 7: “Road”
Directed by Anders Engström
Written by David Farr
* For a recap & review of the previous episode, “Mother” – click here
* For a recap & review of the Season 1 Finale, “Utrax” – click here
In an Utrax facility, trainees are woken up by a voice over the P.A. letting them know their schedule for the day, from medication to training. We see Girl 249 (Yasmin Monet Prince). Elsewhere, at a quarry, kids are swimming when one of them notices a helicopter below the water— the same one Hanna (Esme Creed-Miles) and her father Erik (Joel Kinnaman) used to escape recently.
We catch up in a field with the father-daughter pair. Erik asks about what Marissa (Mireille Enos) told her, and Hanna says it wasn’t much. He begins to be honest with her for the first time in her life. He explains how Utrax was experimenting to see how “certain mutations” would affect newborn children. He admits to recruiting Johanna while she was pregnant. He also makes sure Hanna knows her mother loved her. Erik then says that they can’t stay together forever, because Utrax will always come looking. That’s when he speaks of her “real father.” He’s never met him, though knows his identity, and that he currently lives in Romania.
In Paris, Marissa isn’t comfortable with how things have gone for her with the CIA, or Utrax. She talks to Sawyer (Khalid Abdalla). He tells her to stay clear of him. She will not give up. There’s a personal vendetta in all this for her. Not to mention she feels like the surrogate mother to Hanna.
Hanna seems optimistic about what lies ahead, despite learning that her conception was “an accident.” There’s such depth of emotion in this part of the plot. Hanna’s not the typical adopted child. She was turned into an experimental weapon, effectively, which robs her of bodily and psychological autonomy. Last episode, she told Sophie how her body acts on its own, so there’s a further sense of alienation than the typical adopted child already feels.
En route to Romania, Erik and Hanna stop at his mother Sara’s (Ursula Werner) home. It’s clearly been a long time since they’ve seen one another. Curious that she lies about nobody coming to ask about him. Regardless, Hanna’s enjoying her time there, finally learning something real about the man who she thought was her real father. She’s chipping away at the lies she’s been told, one by one. She sleeps in the old room where Erik did once as a boy. That night, Sara proves she can’t be trusted when she calls Marissa. Shit! Next morning, Erik and Hanna leave with no idea there’s probably a storm headed directly for them.
Marissa turns up to see Sara after they’re gone. Out of nowhere, men with guns arrive, and Sawyer won’t tell her exactly what’s happening. The CIA, and Utrax, realise Heller knows about the other facility. At Utrax, the various girls are sent into lockdown. In a field, Marissa’s taken to wait for a supposed plane, yet it’s clear she’s being led to her execution. Luckily she took a knife from Sara’s place. She has to murder two CIA agents about to put a bullet in her brain. She is tough as HELL.
Erik and Hanna return to the very Romanian hotel where he and Johanna stayed before they were found out by Utrax fifteen years prio. He recounts that night. The whole thing’s tragically romantic in a twisted way. Above all, the fact Erik’s telling Hanna the truth after everything is a good thing. He tells her he loved Johanna, and she knows simply by the look in his eyes and the sound of his voice every word is true.
In the morning, they head to see her real dad, Emil Prodna (Aleksandar Mikic). Erik says that Hanna doesn’t have to see him again if she doesn’t want to, or she can stay forever. She’s unsure of what will happen to him after she’s gone, no matter if it saves her from a life of running from the CIA and Utrax. They sit with Emil’s family for dinner. Bit awkward. Later, Hanna confronts Erik. She knows he’s “planning something.” He won’t tell her. He’s trying to buy back his soul. After he’s gone, Hanna figures it out, so she commandeers her real dad’s car to go looking for her other one.
let me go.
At the Utrax facility, Girl 249’s watching Sawyer and the other agents. Dr. Kunek’s certainly not thrilled. He says keeping the subjects in a confined space too long could cause problems. The agents await violence. Father Gore’s curious if Erik and Marissa may come back together, to a certain extent, when they reach the facility. Maybe Hanna will join them. It’d be a fitting end to this leg of the story, if the surrogate family all reunited to take down the corporation(s) which destroyed/corrupted them. Could give both Erik and Marissa a modicum of redemption for what they’ve done in the past.
When he gets back to the hotel he gets a call from her. She tells him she had no part in what Utrax has done. She warns that if he goes to the facility he’ll die. He suggests it’s merely a “suicide mission” to expose them. But the reach of this corporation “never ends.” Marissa wants to give Hanna a new identity, to help Erik make her safe permanently. Can these two actually work together? He’s just figuring out she’s in the same hotel as him, and he busts down the door. She willingly lays down her gun to try gaining his trust. They’d better hurry up, because Sawyer and his agents are there. Erik assumes it’s Marissa’s doing, and shit really gets bad. Gunfire explodes in the night as Heller takes cover, grabbing his weapons and returning fire.
Perfect time for Hanna to arrive, running over a few CIA agents and taking one of their guns. FINALLY WE SEE HANNA KICKING SERIOUS ASS! She flies through the hotel window to repay the “good teacher” who taught her everything she knows. She gets Erik out of there and they’re off again towards Utrax.
Soundtrack note: “Date With the Night” by the Yeah Yeah Yeahs plays over this last scene.
“Johanna gave birth to her.
But we made her.”
Father Gore— whose biological father is a stranger, whose ‘adopted father’ is the only real father he’ll ever have— finds something terrifically sweet about how Hanna’s discovering that the people who make you aren’t only the ones who bring you literally into the world with their biology. Parents don’t necessarily have to be the people who’ve passed on their genes to you. They’re the ones who have the formative influence over your personality and who you become. Hanna‘s a drama-action-thriller mashup that explores this concept in a hugely compelling fashion.
“Utrax” is next, and it’s the finale. Prepare for something wild.