
Lizzie is a divorced mother living in Melbourne with her young son, Thomas. Seven years after her baby daughter dies in a hospital fire, Lizzie sees a girl who looks like the child she lost. She begins following the girl and enters the family’s life by pretending that she wants to buy their house. The film is a dark, tense thriller about grief, guilt, family pressure, and a mind that may be breaking apart.
The story gives most of its attention to two mothers and their struggle over the girl, while the men remain smaller parts of the family conflict. It treats motherhood and maternal instinct as powerful forces within a tense family mystery. Lizzie’s grief leads her to lie, stalk, trespass, neglect her son, and take the girl away, so the film keeps asking whether she is a victim, a danger, or both. A late discovery changes the meaning of her actions and brings the story to a hopeful but unsettling ending.
Community feedback
Was our 15% Woke rating accurate?
Breakdown
These are the editorial factors and ratings behind our score for Angel of Mine.
Woke representation / casting
Not present. The main roles fit a modern Melbourne setting with Australian, European, and British characters. Farrant said Lizzie’s Swedish background was chosen for the accent and international reach, not as a wider diversity message.
0%
Woke political dialogue
Not present. The dialogue covers grief, custody, mental health, sex, and suspicion. It contains no modern identity, DEI, activist, or partisan speeches.
0%
Identity-driven story themes
The story places two mothers at the center and treats maternal instinct as a powerful guide in the mystery. The women drive the main conflict while the men have smaller roles and mostly react to events. The film uses these choices for a personal thriller rather than an activist identity message.
12%
Western institutional / cultural critique
The film shows Lizzie’s family, workplace, and therapist pushing her to manage grief in accepted ways. Farrant also described the story as a response to Western society’s lack of room for grief. The family and therapist are mostly supportive, and the film does not make a broad attack on Western institutions, men, Christianity, or family life.
10%
Woke character or canon changes
Not relevant. The film adapts a 2008 French thriller, but its new setting and Swedish lead are not presented as a race, gender, or sexuality statement. No established character or real person is changed for an identity message.
0%
Anti-woke backlash and complaints
Not present. The supplied X pass found no anti-woke posts or specific complaints. Other audience and news discussion focuses on the slow pace, mental illness, acting, and twist, not woke or DEI content.
0%
Creator track record context
Stored creator context rates Kim Farrant at 43 and Noomi Rapace at 58. Farrant has spoken about sexism in film and women’s sexual freedom, while Rapace has a clear feminist public profile. The writers and most producers have low scores and no clear activist record, so this context is noticeable but limited.
28%
Production