The children, named after the title (played by Pernilla Allwin and Bertil Guve), enjoy a comfortable life with their parents, Oskar (Allan Edwall), a theatre manager, and Emilie (Ewa Fröling), anticipating Christmas celebrations. There’s merriment and socializing until the father unexpectedly falls ill and dies shortly afterward. Following this, their mother finds herself being pursued by Bishop Vergerus (Jan Malmsjö), a man with a stricter approach to child-rearing. Their marriage brings hardship, particularly for Alexander. Emilie initially accepts her husband's rules, but she gradually comes to despise him and seeks a way to return her family to the security of their former loving environment. The film unfolds in sections; first showing their happiness, then the marriage itself, and finally, their attempt to escape it. It’s the middle section that I found most compelling. Malmsjö delivers an unsettling portrayal of the cruel religious figure, which also highlights a strong performance from young Guve, who demonstrates Alexander's resilience. The film effectively contrasts the rich, plush atmosphere of their original home with the stark and cold austerity of the bishop’s residence, emphasizing the shift in their family dynamic. Daniel Bell’s score complements the emotional journey of the children and their mother. Fröling also offers a powerful performance—you can feel her character's growing anger as she realizes she is constrained by her husband’s position and authority. The film does take some time to introduce characters who seem only loosely connected to the main story, but this ultimately creates a sense of community and allows various elements to come together toward the end. I appreciated the ending very much! This film is best experienced on a large screen; the visuals are more impactful that way, and the length shouldn’t deter you—it moves at a good pace once it gets going.

Source on TMDB