She has to suffer to reach him. Survival is never clean.
Em Kiruna, uma cidade sueca construída sobre décadas de mineração subterrânea, a terra cobra o seu preço. O Abismo acompanha Frigga, diretora de segurança, enquanto a cidade onde vive começa a afundar num sumidouro — e com ela, as relações, as perdas e a necessidade humana de encontrar os que amamos no meio do caos. É um filme sobre o que resiste quando o chão desaparece: não apenas o instinto de sobrevivência, mas também a culpa, o amor e a pequenez dos nossos conflitos diante da catástrofe.
- Kiruna está literalmente a desmoronar-se, e Frigga vê a cidade que jurou proteger engolida pela terra que durante décadas foi explorada sem descanso.
- O seu filho Simon desapareceu na escola destruída, e cada minuto que passa transforma a busca numa corrida entre o resgate e o luto.
- Em meio à destruição, dois homens discutem um anel de noivado — um momento quase absurdo que revela como as pessoas se agarram ao quotidiano quando tudo o resto colapsa.
- Aila, Tina e Tange morrem durante as operações de resgate, cada perda sublinhando que a sobrevivência nunca é garantida nem gratuita.
- Simon é encontrado vivo numa sala de informática, e a família escapa pelo sistema de ventilação — mas o preço pago por essa saída é irreversível.
O Abismo, o mais recente thriller de catástrofe da Netflix, ancora o seu drama no cenário real de Kiruna, na Suécia — uma cidade mineira onde décadas de exploração subterrânea criaram as condições para o impensável. Frigga, diretora de segurança, assiste impotente ao colapso progressivo da cidade num sumidouro, enquanto tenta localizar o filho desaparecido, Simon.
No clímax do filme, o ex-companheiro de Frigga, Mica, e o atual namorado, Dabir, regressam à cidade em colapso para tentar salvar Aila e a sua avó. Mica quase morre, sendo salvo por Dabir. Aila não sobrevive. A tentativa de resgate transforma-se num funeral em tempo real.
Entretanto, no hospital, uma cena inesperada quebra a tensão: Tange e Dabir discutem um anel de noivado roubado, uma querela quase ridícula à escala da tragédia, mas que diz muito sobre como as pessoas procuram normalidade no meio do trauma. É uma rapariga no hospital quem revela onde Simon está — fechado na escola, a jogar videojogos no dia do seu aniversário.
A escola está em ruínas. Frigga entra pelo sistema de ventilação e encontra o filho vivo numa cavidade da sala de informática. A colega de turma Tina não tem a mesma sorte — morre com uma barra de metal cravada no corpo. Durante o resgate, Frigga é também ferida. Mãe e filho têm um momento de reencontro enquanto o edifício continua a desmoronar-se à sua volta.
A fuga é feita por um salto para uma máquina de vending suspensa por um cabo. Tange segura o cabo tempo suficiente para que Dabir salve Mica e Frigga, mas não o suficiente para se salvar a si próprio. Um choque elétrico mata-o — não sem antes pedir a Dabir que cuide da sua família. O filme termina com Frigga e Dabir em silêncio, olhando para a paisagem devastada, o peso do que viveram a assentar sobre eles como poeira.
Netflix's latest disaster thriller, O Abismo, has found its audience by grounding a catastrophic premise in the real geography of Kiruna, Sweden—a mining town where the earth itself becomes the antagonist. The film follows Frigga, a safety director who watches helplessly as the city begins to collapse into a massive sinkhole, the inevitable consequence of decades of underground mining operations that have hollowed out the bedrock beneath people's homes.
By the film's climax, Frigga's worst fears have materialized. The city is actively sinking. Her ex-partner Mica and her new boyfriend Dabir have returned to the collapsing town despite her warnings, attempting to rescue Aila and her grandmother. As the ground gives way beneath them, Mica nearly dies before Dabir pulls her to safety. Aila, however, does not make it out. The rescue attempt becomes a funeral in real time.
While Frigga and her colleague Tange search the rubble for Frigga's missing son Simon, the city's center disintegrates around them. A young body is recovered—Frigga initially believes it might be Simon—but it is not. The boy she's looking for was last seen being pulled into the earth by an adult in the film's opening moments, a detail that haunts the search.
At the hospital, where Mica lies in shock, an unexpected moment of levity breaks the tension: Tange and Dabir, two middle-aged men, begin bickering over a wedding ring. Tange has stolen the ring Dabir intended to use to propose to Frigga. The argument is petty, almost absurd given the scale of the disaster unfolding around them, but it speaks to how people grasp for normalcy in the aftermath of trauma. Frigga interrupts their quarrel with crucial information. A girl at the hospital knows where Simon is. He had planned to spend his birthday locked inside the school, playing video games.
The school is devastated. Entire sections have collapsed. At least one child is dead. Another stands outside in shock. The only way to reach the computer room where Simon might be is through the ventilation system. Frigga navigates the wreckage and finds her son in a cavity within the IT room—alive, nearly unharmed. His classmate Tina is not so fortunate. A metal pole has impaled her.
The rescue becomes a coordinated effort. Dabir, Tange, and Mica work their way through the debris. Before reaching Frigga, Tange returns the stolen ring to Dabir—a small gesture of reconciliation. Attempts to save Tina fail. She dies from her injuries. When Frigga is lowered into the cavity to reach Simon, a metal rod pierces her leg. Mother and son have an emotional exchange while Tange and Dabir work above them, trying to stabilize the collapsing floor.
Simon makes a dangerous leap toward his mother. Mica follows. Together, the siblings manage to remove the rod from Frigga's leg. They escape the sinkhole by jumping onto a vending machine that hangs precariously from a cable. Tange holds the cable long enough for Dabir to pull Mica and Frigga to safety, but not long enough to save himself. An electrical shock kills him—though not before he asks Dabir to look after his family. Rescue workers arrive. The survivors are escorted out. The film ends with Frigga and Dabir standing in silence, looking out at the devastated landscape they have just escaped, the weight of what they have endured settling over them like dust.
Citações Notáveis
Tange asks Dabir to look after his family before dying from an electrical shock— Tange, Frigga's colleague
A Conversa do Hearth Outra perspectiva sobre a história
Why does the film spend so much time on Tange and Dabir arguing over a ring in the middle of a hospital?
Because that's what people do when the world is ending. They can't process the scale of loss, so they fight about something small enough to control. The ring becomes a way of asserting that life—marriage, commitment, the future—still matters.
Simon survives with barely a scratch. Is that meant to feel earned, or does it feel like luck?
It's both. He survives because he made a specific choice—to hide in the school playing video games on his birthday. That choice, which seemed selfish or foolish, becomes the thing that saves him. But Aila and Tina don't get that luck. The film doesn't pretend the ending is happy.
Frigga is a safety director. She warned everyone. Does the film blame her for what happens?
No. She did her job. She told people the danger was real. They didn't listen, or they couldn't leave. The film is clearer about blaming the mining operation itself—the years of extraction that made the collapse inevitable.
What does Frigga's injury—the metal rod through her leg—accomplish in the story?
It makes the rescue personal. She doesn't get to be the hero who saves her son without cost. She has to suffer to reach him. It's a reminder that survival in this film is never clean.
The ending is described as uncomfortable. Why?
Because it's quiet. After all that chaos and death, Frigga and Dabir just stand there looking at the ruins. There's no catharsis, no speech about rebuilding. Just two people trying to comprehend what they've lived through.