The Captive

Generally I find ambiguity enables scripts to reflect a higher degree of realistic contemplation, for it aptly accentuates the diversity of competing/cooperating points-of-view/interpretations/motivations/. . . that compose a multidimensional cosmopolitan filmscape, internally creating open-ended multifaceted polarized exteriorizations, thereby encouraging constructive debate.

But sometimes it's nice to simply watch good versus evil, a basic opposition of hero and villain, which is why I see so many action and western films.

The best of these usually have an ambiguous dimension; while it's clear who is good and who is evil, the protagonist often has several peculiar shortcomings (quick to anger, likes drinking, is never home), and the villains often seem honourable, or at least are quite appealing.

Obviously enough.

The villains in Atom Egoyan's The Captive are not honourable or appealing.

Nor should they be.

They are revolting monstrosities to be loathed and vilified in each and every instance.

Their monstrosity causes the heroes to act violently towards one another, as historical patterns and dead-ends necessitate the investigation of particularly volatile potentialities.

There's no room for ambiguity in The Captive's case, and its greatest shortcoming could perhaps be that it didn't make its villains even more disgusting.

The controversial subject matter is perhaps too watered down to adequately reflect its wickedness, but there isn't much choice when creating works which examine these realities.

Otherwise they would be impossible to sit through.