
While driving near Briançon, David accidentally hits a teenage immigrant fleeing the police. He hurriedly hides the boy in his car’s trunk and brings him home, where his wife Gabrielle and their two children await. Moved by the teen’s plight, David resolves to protect and support him, risking everything for the young refugee.
Does In a Better World have end credit scenes?
No!
In a Better World does not have end credit scenes. You can leave when the credits roll.
Explore the complete cast of In a Better World, including both lead and supporting actors. Learn who plays each character, discover their past roles and achievements, and find out what makes this ensemble cast stand out in the world of film and television.

Julia Piaton
Gabrielle

Bruno Todeschini
Vincent

Benjamin Lavernhe
David

Jean-Marc Michelangeli
Capitaine de police

Catherine Hiegel
Anne

Arthur Benzaquen
Thierry

Éléonore Bernheim
Virginie

Ludivine de Chastenet
Catherine

Sacha Bejaoui
Nino

Youssouf Gueye
Jocojayé

Hakim Jemili
Adam

Luna Bevilacqua
Lili
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What is the name of the Swedish doctor who works in the Sudanese refugee camp?
Read the complete plot summary of In a Better World, including all major events, twists, and the full ending explained in detail. Explore key characters, themes, hidden meanings, and everything you need to understand the story from beginning to end.
In a spare, morally charged drama that moves between a quiet home in Denmark and a tense refugee camp in Sudan, a Swedish doctor named Anton traverses a stark divide between two worlds. He spends his days treating women in the camp who have suffered at the hands of a sadistic warlord, while his own life at home is fractured by a separation from his wife, Marianne, following an affair. They share two young sons, including a twelve-year-old named Elias, who witnesses his parents’ strain as they grapple with love, loyalty, and the fragility of family life.
At Elias’ school, a new boy named Christian arrives with his father Claus after moving from London. Christian’s mother has recently died of cancer, and Christian carries the weight of his father’s role in her illness—he believes Claus misled him about her prognosis and even insinuated that her suffering was something he wanted. This seeds tension early on. The two boys form a tentative bond: Elias is being bullied, and Christian steps in to defend him. In a charged moment, he assaults the main aggressor, even placing a knife in Elias’ hands as a symbol of protection. The boys lie to the police and to their parents about what happened, trying to shield themselves from consequences while the secret threads of blame and fear begin to tug at their lives.
Back home, a separate confrontation unfolds with a mechanic who disrespectfully insults Anton’s nationality and physically slaps him. Despite the provocation, Anton remains outwardly calm, standing his ground and refusing to escalate, a stance that reveals a core tension in his character: a man who believes in bearing the weight of danger without breaking. The exchange is harsh and personal, underscoring how cultural and national tensions can surface in the most ordinary moments.
In Sudan, the situation grows even more morally complex. The warlord—frankly, a figure of power and cruelty—visits Anton’s hospital seeking treatment for a wounded leg. Anton makes a deliberate, painful choice to treat him, but under strict conditions: no weapons allowed inside the clinic, and only two guards present. The healing process is slow and tense, and the warlord’s hidden contempt for a victim hardens Anton’s resolve. When the warlord mocks someone under his control, Anton makes a drastic decision to pull him away from the hospital’s center of violence, allowing local people to exact their own form of punishment. The moment forces Anton to weigh professional duty against moral instinct, highlighting a man who is capable of extraordinary mercy and equally extraordinary hard choices.
The story then returns to Denmark, where Christian and Elias attempt to prove themselves by planning a bombing aimed at the mechanic’s car. The plan, born from anger and a desire to protect Elias, is halted at a critical moment when Elias spots two joggers approaching—a mother and her young daughter. He risks himself to warn them, leaping from cover and ending up unconscious while ensuring the joggers’ safety. The aftermath reveals how quickly fear can become a catalyst for harm and how fragile trust can be once again tested.
Christian faces law enforcement scrutiny and is released, the incident framed as extreme vandalism rather than attempted violence. Marianne—overwhelmed by fear for Elias and the fear of losing him—refuses Christian the chance to visit. Christian, clinging to the hope that Elias may still be alive, climbs to the top of a silo, contemplating suicide, before Anton arrives and rescues him. The rescue is pivotal, offering a glimmer of connection between the two troubled families and a chance for reconciliation.
As the days unfold, the family dynamics slowly begin to shift. Christian and his father Claus rebuild a fragile bond, acknowledging past mistakes and the heavy burden of responsibility they share. In the end, there is a sense of tentative healing: Anton and Marianne, after a period of estrangement, reconnect physically, signaling a possible revival of their marriage. The story leaves the audience with a quiet sense of moral complexity, showing how people navigate forgiveness, accountability, and the unpredictable consequences of their actions across two very different, morally charged landscapes.

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