Observing the rash and unlawful choices unfold in the film *Bad Apples*, I couldn’t help but recall the words of a fated galactic senator: “If you carry your thoughts to their conclusion, you’ll arrive at a destination we cannot reach.”
This irrevocable destination is precisely where the Saiorse Ronan-led dark comedy thriller ventures, under the guidance of director Jonatan Etzler, as he directs his lead down a questionable route. Bolstered by a skilled young ensemble, *Bad Apples* examines unethical urges while uncovering truths about the underfunded education system and societal neglect towards children with behavioral, emotional, and social challenges. Additionally, it’s genuinely hilarious.
Educators and parents, this film is a must-see (and I’m eager to hear your opinions).
*Bad Apples* stars Saiorse Ronan as a teacher pushed beyond her limits
Crafted by Jess O’Kane, adapted from Rasmus Andersson’s book *De Oönskade*, *Bad Apples* centers on Maria (Ronan), a primary school teacher in Somerset, whose lifelong aspiration to teach is crushed by the harsh reality of a deficient education system, particularly with a “challenging” student.
Feeling overwhelmed, Maria’s lack of support from the institution reaches its peak with the disruptive student Danny (newcomer Eddie Waller). A boy prone to outbursts, he curses at peers, damages property, and creates turmoil. Waller shines in this part, with O’Kane’s screenplay brimming with profanity and threats. Despite her frazzled efforts to bring order and assistance from the teacher’s favorite, Pauline (Nia Brown), Maria contends with parental pressure, insufficient professional backing from the overtaxed principal (Rakie Ayola), and prepares for the impending Ofsted inspection. Out of the blue, violence erupts.
With her job hanging in the balance, Maria resorts to drastic measures. How to address a problem like Danny? She confines him in her basement.
Saiorse Ronan gives a masterclass in an unreliable protagonist
Conscious of the confined child engaging in video games within her home, Maria upholds the charade — and Ronan skillfully engages the audience with her ongoing justifications for her behavior. Delivering deadpan lines such as “I’ve got your son in my basement” and searching “how to manage a large pet” online with comedic touch, Maria digs herself deeper into the situation.
A significant portion of *Bad Apples* reveals Maria’s isolation. She loses herself in her farming simulator game and shuns interactions beyond school. Compounding her stress, she collaborates with her ex, who abandoned her for another woman — a harsh reality in a small town. With Danny in the basement, Maria asserts control in her classroom and finds a distorted sense of companionship with her young captive.
This warped viewpoint extends to Danny, who cries out for his missing father (Robert Emms) while experiencing an existence reminiscent of Stockholm Syndrome, learning from Maria. As time passes, Maria and Danny forge a peculiar, tumultuous connection. But is it true friendship, or is Danny plotting his escape? It’s a dark ethical dance, eliciting comedic moments from Ronan and Waller.
*Bad Apples* investigates a micro decision with macro consequences
Maria’s choices in *Bad Apples* are criminal. Nevertheless, the film delves into this scenario, envisioning what transpires when a troublesome student is confined in a basement during an Ofsted inspection, after assaulting a classmate.
Waller’s Danny, initially embodying the Difficult Student stereotype, reveals vulnerability and humanity, especially in interactions with Ronan’s Maria. Conversely, Brown’s Pauline, the model student, emerges as the true power broker.
Through the film’s narrative, Etzler and O’Kane raise ethical questions surrounding overburdened teachers, insufficient resources for children with behavioral issues, and preconceived notions about “difficult” youths. Communities tend to overlook troubled children like Danny instead of seeking to understand them. I’m curious to hear the perspectives of teachers and parents regarding this film, as I’m neither.
In the end, who truly is the bad apple in this scenario?
*Bad Apples* was reviewed at the BFI London Film Festival.