In a remote and windswept valley somewhere in the rugged landscapes of Iceland, a solitary elderly couple prepares for the forthcoming winter; however, the urge to work in such a feverish haste remains unknown.
Ólafía Hrönn Jónsdóttir,
A country romance about the human streak in the horse and the horse in the human. Love and death become interlaced and with immense consequences. The fortunes of the people in the country through the horses' perception.
Johann Pall Oddson
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Hilmir Snær Guðnason,
Hanna María Karlsdóttir
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In less than twenty-four hours, a middle-aged academic and his nearly half his age fiancée will get married in Iceland's windswept island, Flatey, amid endless preparations and bitter second thoughts. Is this what they really want?
At the beginning of the film Hannes is experiencing the pain of his last day at work, aged 67 and after 37 years as a school caretaker and before that as a fisherman living in the Vestmannaeyjar archipelago. The 1973 volcanic eruption of Eldfell forced him to move the family to the mainland. Retirement does not come easy and it's clear that for some time Hannes has become estranged from his wife and family. On a topical note, his daughter Telma has just been promoted as a loans manager in a bank - to the disgust of her father. His son Ari is divorced, but usually has his small son in tow. Most long-suffering is Anna, the matriarch of the family. Who's really loved by her husband, but when her children are around she has to suffer his intolerance and volatile moods. After nearly sinking in his old fishing boat, Hannes begins to soften and he and Anna have a rapprochement - which is almost immediately halted by tragedy when Anna has a very severe stroke.What follows is a deeply moving ...Written by
Watching director Rúnar Rúnarsson's feature debut now cannot circumvent this epithet "the Icelandic version of AMOUR (2012)", only VOLCANO came one year earlier. Compared to AMOUR, it does't match the former's metaphorical conceit, but as a debut, Rúnarsson adeptly chronicles this slow-burner with unadorned humanism and uncompromising dedication.
Our protagonist Hannes (Júlíusson), is introduced by his retirement party and begins to adopt his new life pattern with his wife Anna (Jóhannsdóttir), but his withdrawn personality and the deficit in communicating with his two children, Ari (Bachmann) and Telma (Gunnarsdóttir), creates a family gap, Ari and Telma can never understand why their mother marries a man who has never been good to her. Yes, there are only two people knows the truth of their marriage.
After a leakage in Hannes' tiny boat, and a make-up sex which is quite audacious for two elderly actors and the mastermind behind it, the unexpected happens, Anna has a stroke but survives, against the will of Ari and Telma, Hannes decides to take care of her at home, then we journey through Hannes' day-to-day effort of attending to Anna, meanwhile I was thinking please don't let it be a reenactment of AMOUR, please don't! Yet eventually a tough decision must be made, but unlike Trintignant and Riva's bourgeois harmony, Hannes and Anna's marriage is more or less on the rocks, which prompts Hannes' behaviour to look like a redemption for all those years of negligence, a remorseful realisation of not cherishing the beloved one until time is running out. Rúnarsson has no qualm of showing audience the cruelty but he also refuses to imprint his personal judgement on it, arguably, one can interpret Anna's whimpering as her final request, and Hannes merely executes it despite of all the unwillingness.
Leading actor Theodór Júlíusson's performance is quietly powerful, incredibly engaging in betraying Hannes' flux of mind under the introverted surface, and he is consummately believable to embody a lifelike character besides performing well in several pathos- rendering scenes. Margrét Helga Jóhannsdóttir, although her role is truncated to a vegetable halfway through apart from her unvarying moaning, is equally daring and admirable, for Anna, there is no clear indication of her condition's deterioration, so she is not so lucky as Riva in AMOUR.
The volcano is presented in the opening sequences with a sublime aria and from what I glean in the film, it signals as an abrupt changeover in one's life, it is the volcano forced Hannes and Anna to leave their hometown for relocation, which forever altered their trajectory, so is Anna's stroke, it will change the family eventually, it cannot be stopped. In the end, through a breathtaking shots of Iceland's unique terrain and sea view, Rúnarsson chooses to let nature speak, to impress, to marvel and to purify, while Hannes and his grandson are sailing on the muted sea, conveys the sense of succession, like the film per se, the spirit is also silent but tenacious.
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