---
title: "The Debt"
year: 2010
kind: "film"
canonical: "https://film.one/film/the-debt-2010"
fi1m_id: "the-debt-2010"
imdb_id: "tt1226753"
tmdb_id: 48289
wikidata_id: "Q1306837"
fi1m_score: 65
critics_score: 64
critics_reviews: 21
published: "2026-10-04T08:02:42.462426+00:00"
updated: "2026-10-04T08:03:12.792081+00:00"
region: "AT"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# The Debt (2010)

Directed by John Madden · 1h 53m · Drama, Thriller

## Identity

The Debt

- **Canonical:** https://film.one/film/the-debt-2010
- **Type:** Film
- **Fi1m ID:** the-debt-2010
- **IMDb ID:** tt1226753
- **TMDB ID:** 48289
- **Wikidata ID:** Q1306837
- **Same entity:** https://www.imdb.com/title/tt1226753/, https://www.themoviedb.org/movie/48289, https://www.wikidata.org/wiki/Q1306837

**Fi1m score: 65** · Critics 64 from 21 reviews

*In a sentence:* A gripping hour in a Berlin flat, then everyone ages thirty years and the film forgets how it got there

> John Madden’s remake of an Israeli thriller is at its best in a cold Berlin flat in 1965, where Jessica Chastain and Jesper Christensen face each other across an examination table. The 1997 half, for all Helen Mirren’s work, lets it down.

## Synopsis

Tel Aviv, 1997. Rachel Singer (Helen Mirren) is a retired Mossad agent whose daughter Sarah (Romi Aboulafia) has written a book about the mission that made her famous: the 1965 capture in East Berlin of Dieter Vogel (Jesper Christensen), a Nazi doctor wanted for his crimes at Birkenau. Her former colleague Stefan Gold (Tom Wilkinson) is now a senior man in the service; the third agent, David Peretz (Ciarán Hinds), has been out of touch for years. The film cuts back to 1965. The young Rachel (Jessica Chastain) crosses into East Berlin to join David (Sam Worthington) and Stefan (Marton Csokas), and books an appointment at Vogel’s gynaecology clinic, where she is to be examined by the man they have come to take. The plan is to get him out of the city by train.

## Review

John Madden’s *The Debt* is a remake of an Israeli thriller, and it is really two films. The first is set in East Berlin in 1965 and follows three young Mossad agents sent to catch a Nazi doctor and bring him to trial. The second is set in 1997 and asks what thirty years of living with that mission have done to them. The first is a tight, cold, well-made thriller. The second is slacker, warmer and finally silly, and it is the one the film has to end on.

The Berlin section begins with Rachel (Jessica Chastain) crossing into the East to join David (Sam Worthington) and Stefan (Marton Csokas) in a flat with a view of nothing. Their target, Dieter Vogel (Jesper Christensen), is practising as a gynaecologist under another name, and the only way to get close is for Rachel to book an appointment. Christensen plays him as a pleasant, attentive doctor who asks after her husband and warms his hands before he touches her. We were rigid in our seats through every one of her visits, and not because anything happens; it is that his hands are in the frame and her face is above them, and Ben Davis’s camera keeps both in view and does not cut away.

Davis shoots East Berlin in greys and a thin, dirty green, with the agents’ flat lit by one lamp and the clinic in a flat white that is somehow worse. Jim Clay’s safe house is two rooms, a bath and peeling paper, and the film spends long enough in it that we come to know where the chair is. Natalie Ward puts Rachel in a coat too thin for the weather and Stefan in one too good for his cover. Thomas Newman’s score is sparer than usual for him, a low string pulse and a few plucked notes, and it stays out of the way until the attempt to get Vogel out through a railway station, which Alexander Berner cuts to the rhythm of a timetable and which is the best five minutes in the film.

What follows in the flat, with Vogel tied up and the three agents waiting for new orders, is nearly as good. Christensen barely raises his voice, and he does more damage talking than most screen villains do with a weapon. Csokas gives Stefan a swagger that curdles into something meaner under pressure. Worthington plays David as the quiet one, which suits him, though his accent goes on its own travels. The love triangle the script threads between the three has been much complained of, and it is slight, but it is also the only thing in the flat besides Vogel, and we did not mind it.

Then the film goes back to 1997, and the trouble starts. Helen Mirren, Tom Wilkinson and Ciarán Hinds are all good, and Mirren in particular makes Rachel’s public face look like a thing that costs her to hold. But the matching is odd: Chastain into Mirren we can believe, Worthington into Hinds we cannot, and the film asks us to several times. The screenplay, by Matthew Vaughn, Jane Goldman and Peter Straughan, then takes a turn we will not describe. What we can say is that the last half hour swaps the questions the Berlin scenes raised, about what a country owes its heroes and what the heroes owe the truth, for the business of an ordinary thriller, with a corridor and a weapon and a clock. We felt the film shrinking as we watched it.

Madden made [*Shakespeare in Love*](https://film.one/film/shakespeare-in-love) (1998), and he is at his best here as there, with actors in a room and a scene that turns on a look. Against Spielberg’s [*Munich*](https://film.one/film/munich) (2005), which covers some of the same ground, *The Debt* is tidier and far less troubled by what its agents do. *Munich* made us uneasy; this asks us to be uneasy and then reassures us.

See it for Chastain and Christensen and the hour in Berlin, which would have made a good film on its own. Stay for Mirren. Expect the ending to let you down, and decide in advance that you do not mind. It runs 113 minutes and carries a 15 certificate.

*Fi1m score 65, published 4 October 2026.*

## What the critics say

The reviews lean mildly positive, though most critics land in the middle: a competent, well-acted espionage thriller rather than a distinguished one. The praise clusters on the cast. Jessica Chastain is the name that recurs most often, usually alongside Helen Mirren, and several critics single out Jesper Christensen’s calm, chilling turn as the Nazi surgeon, with the tense safe-house scenes between him and Chastain cited as the film’s strongest stretch. The flashback material in Berlin is admired for its grit and suspense.

The reservations cluster just as tightly, on the final act. Critic after critic calls the ending implausible, contrived or preposterous, and several feel the love triangle sits uneasily beside the crimes the story is built around; a few find the 1990s sections slacker than the flashbacks. The spread is narrow, with only one outright dismissal: The Guardian finds it dramatically unconvincing and morally unsatisfying, while the Los Angeles Times is the lone unreserved admirer.

## Straight answers

**Is The Debt worth watching?**

*The Debt* is worth watching for the hour in 1965 East Berlin, where Jessica Chastain and Jesper Christensen face each other across an examination table, and we scored it 65. The 1997 half, with Helen Mirren, Tom Wilkinson and Ciarán Hinds, turns into an ordinary thriller and lets the ending down. Go in expecting that, and the Berlin scenes repay the evening.

**How long is The Debt, and what is it rated?**

*The Debt* runs 1h 53m. It is a drama and thriller film.

**Where can I watch The Debt in Austria?**

*The Debt* is available to rent from Amazon Prime Video and Apple TV from €2.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is The Debt, and is it suitable for children?**

*The Debt* carries a 15 certificate and is not suitable for children; it is a Cold War thriller about the capture of a Nazi doctor wanted for crimes at Birkenau. The frightening parts are quiet rather than bloody: a young agent being examined by the man she has come to take, and a prisoner who does his damage by talking. The last half hour is more conventionally violent.

**How does The Debt compare to Munich?**

*The Debt* covers some of the same ground as [*Munich*](https://film.one/film/munich), with Mossad agents sent abroad to take a wanted man, but it is the tidier and less troubled of the two. Spielberg's film left us uneasy about what its agents do; Madden's asks us to be uneasy and then reassures us. *Munich* is the better film and the longer evening; *The Debt* is the easier watch.

**What should I watch after The Debt?**

After *The Debt*, try [*Munich*](https://film.one/film/munich) (2005, Fi1m 80): Spielberg’s agents do the same work and come home far less certain of it. Then [*The Lives of Others*](https://film.one/film/the-lives-of-others) (2006, Fi1m 84): East Berlin from the other side of the listening equipment, patient and sad; and [*Marathon Man*](https://film.one/film/marathon-man) (1976, Fi1m 74): Laurence Olivier’s Nazi dentist asks if it is safe; the answer is no.

### Reviews we read (21)

- **Los Angeles Times**, Betsy Sharkey (90/100, inferred): Sharkey finds the film a superbly crafted, brainy espionage thriller with strong momentum. She especially praises Jesper Christensen’s chilling, nuanced performance as the Nazi surgeon. [Read](https://www.latimes.com/entertainment/la-xpm-2011-aug-31-la-et-the-debt-20110831-story.html)
- **Time Out**, Anna Smith (4/5): The review is positive, suggesting the thriller sells itself through its cast. It singles out Helen Mirren, Ciarán Hinds and Tom Wilkinson as the main draw. [Read](https://www.timeout.com/movies/the-debt)
- **Total Film**, Neil Smith (4/5): Smith finds the film a gripping thriller, though its final act is preposterous and its revenge premise feels superficial beside Munich. He singles out Jessica Chastain’s performance as especially memorable. [Read](https://www.gamesradar.com/the-debt-1-review/)
- **The AV Club**, Nathan Rabin (B): Rabin finds the film’s exploration of guilt and identity compelling but says its love triangle feels trivial beside the Nazi crimes at its center. He singles out the tense encounters between Chastain and Christensen for praise. [Read](https://www.avclub.com/the-debt-1798169434)
- **Empire**, William Thomas (65/100, inferred): Thomas finds the thriller smart, tense and worthwhile despite a disappointing finale. He singles out Jessica Chastain and Helen Mirren’s performances as its highlight. [Read](https://www.empireonline.com/movies/reviews/debt-review/)
- **Evening Standard**, The Standard (65/100, inferred): The critic finds the thriller engaging despite an occasionally loose plot and an implausible final section. Helen Mirren and Jessica Chastain are singled out for their strong performances. [Read](https://www.standard.co.uk/culture/film/the-debt-review-7426904.html)
- **The Hollywood Reporter**, Kirk Honeycutt (65/100, inferred): Honeycutt finds the thriller effective overall, though its timeline creates a jarring problem for the ending. He praises the vivid characters and suspenseful production, especially the cinematography, sets, and score. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/debt-film-review-29940/)
- **RogerEbert.com** (64/100, inferred): The page could not be accessed, so its verdict is unavailable. No praise or criticism can be reliably identified. [Read](https://www.rogerebert.com/reviews/the-debt-2011)
- **Screen Daily**, John Hazelton (64/100, inferred): The page identifies this as a review, but the critic’s verdict is hidden behind the paywall. The accessible metadata provides no specific praise or criticism. [Read](https://www.screendaily.com/the-debt/5017773.article)
- **The New York Times** (64/100, inferred): The review’s verdict could not be determined because the article was inaccessible. No praise or complaint from the critic was available to identify. [Read](https://www.nytimes.com/2011/08/31/movies/debt-with-helen-mirren-review.html)
- **Radio Times**, Dave Aldridge (3/5): The critic calls it decent but unspectacular, with the cast lifting it above the ordinary. They single out the calibre of the performances, including Helen Mirren, Sam Worthington, Tom Wilkinson and Jessica Chastain. [Read](https://www.radiotimes.com/movie-guide/b-lusxyv/the-debt/)
- **Sight and Sound**, Kate Stables (60/100, inferred): Kate Stables finds it a sturdy psychological suspense thriller, though its final act strains credibility. She praises its intriguing focus on the dilemmas of a female lead agent. [Read](http://old.bfi.org.uk/sightandsound/reviews/releases/)
- **The New Yorker** (60/100, inferred): The review finds the thriller uneven, with its implausible plot weighed down by gloomy reflection. It praises Jesper Christensen for a calm, clever performance that dominates the film. [Read](https://www.newyorker.com/goings-on-about-town/movies/the-debt)
- **Vulture**, David Edelstein (55/100, inferred): Edelstein finds the thriller gripping despite its increasingly absurd turns. He praises the carefully built suspense, especially the weight carried by the characters’ faces. [Read](https://www.vulture.com/2011/09/movie_review_the_debt.html)
- **Variety**, Jordan Mintzer (50/100, inferred): Mintzer finds the thriller polished and suspenseful but weighed down by conventional plotting and an overdone love triangle. He praises the flashbacks’ gritty details and the film’s skillful handling of its multiple locations and time periods. [Read](https://variety.com/2010/film/reviews/the-debt-1117943431/)
- **The Guardian**, Philip French (30/100, inferred): French finds the thriller dramatically unconvincing and morally unsatisfactory. He praises the tense Berlin operation and Jesper Christensen’s chilling Nazi portrayal. [Read](https://www.theguardian.com/film/2011/oct/02/debt-helen-mirren-film-review)
- **Digital Spy**, Simon Reynolds (75/100, inferred): The review finds the film smart, involving entertainment, despite some jarring visual matches between the younger and older cast. It especially praises the performances of Helen Mirren and Jessica Chastain. [Read](https://www.digitalspy.com/movies/a339341/the-debt-review/)
- **Den of Geek**, Ryan Lambie (3 out of 5): Lambie finds the film a mildly diverting thriller, but says its 1990s sections make the story stumble. He praises Jesper Christensen’s hypnotic performance as the Nazi war criminal. [Read](https://www.denofgeek.com/movies/the-debt-review/)
- **HeyUGuys**, Anthony Charles (3.5/5): The critic finds it an entertaining, solid political thriller, though it loses momentum and its reveals can be predictable. Helen Mirren’s strong performance is singled out as a major asset. [Read](https://www.heyuguys.com/the-debt-review/)
- **Collider**, Matt Goldberg (C-): Goldberg finds the film uneven, criticizing its unclear characterization and its shift toward conventional spy-thriller plotting. He praises the tense safe-house sequence, where the operatives confront their fears and the mission’s moral complications. [Read](https://collider.com/the-debt-review/)
- **Paste**, David Roark (50/100, inferred): Roark finds the film suspenseful and well-acted, but says its contrived ending undermines its moral argument. He particularly praises Jessica Chastain’s performance and the polished direction, which make the thriller’s characters matter. [Read](https://www.pastemagazine.com/movies/the-debt-review)

## Details

- **Director:** John Madden
- **Director:** John Madden
- **Screenplay:** Jane Goldman, Peter Straughan, Matthew Vaughn
- **Writer:** Assaf Bernstein, Ido Rosenblum
- **Cinematography:** Ben Davis
- **Editor:** Alexander Berner
- **Music:** Thomas Newman
- **Production design:** Jim Clay
- **Costume design:** Natalie Ward
- **Producer:** Eitan Evan, Eduardo Rossoff, Kris Thykier
- **Cast:** Helen Mirren as Rachel Singer; Tom Wilkinson as Stefan Gold; Sam Worthington as Young David Peretz; Ciarán Hinds as David Peretz; Jessica Chastain as Young Rachel Singer; Marton Csokas as Young Stefan Gold; Jesper Christensen as Dieter Vogel; Romi Aboulafia as Sarah Gold
- **Runtime:** 1h 53m
- **First release (France):** 4 September 2010
- **Genres:** Drama, Thriller
- **Budget:** $20 million
- **Box office:** $46 million
- **Trailer:** https://www.youtube.com/watch?v=ApMEDQbV2cI

## Where to watch in Austria

- Amazon Prime Video: rent €2.99, sd
- Apple TV: rent €3.99, hd
- Apple TV: buy €7.99, sd
- Amazon Prime Video: buy €7.99, sd

*Checked 2026-10-04.*

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EE, ES, FI, FR, GB, GR, HK, HR, HU, IE, IL, IT, JP, KR, LT, MX, NL, NO, NZ, PA, PH, PL, PT, RO, RS, SE, SG, TH, UA, US, VN, ZA. Add `?region=XX` to this URL for another country.

## If you liked this

- *Ha-Hov* (2007): The Israeli original, leaner and gloomier, with no star to soften the ending
- *Munich* (2005), Fi1m 80: Spielberg’s agents do the same work and come home far less certain of it — [Fi1m page](https://film.one/film/munich.md)
- *The Lives of Others* (2006), Fi1m 84: East Berlin from the other side of the listening equipment, patient and sad — [Fi1m page](https://film.one/film/the-lives-of-others.md)
- *Marathon Man* (1976), Fi1m 74: Laurence Olivier’s Nazi dentist asks if it is safe; the answer is no — [Fi1m page](https://film.one/film/marathon-man.md)
- *Phoenix* (2014), Fi1m 68: A survivor returns to Berlin wearing a stranger’s face, and nobody wants to look — [Fi1m page](https://film.one/film/harry-potter-and-the-order-of-the-phoenix.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/the-debt-2010