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Performances are intriguingly contrasted in this style of storytelling. Gallon and Edlund have a remarkable realism in their relationship, which in the opening scenes with the superb Jakobson is fused with sharp humour. So the pain of grief adds a very heavy weight. And they maintain this earthiness right through the most outrageous scenes. By contrast, Belli, Khatchadorian and Litmanen offer wildly heightened, almost slapstick performances that are both terrifying and viciously amusing.

Scenes are peppered with elements that must be symbolic, from the white cat to two dogs (one of which is dead) and a family of rabbits in an eerie light/shade silhouette animation show within the story. Indeed, Elin, Leif and Maja originally appear in rabbit-face makeup. What all of this means is wilfully obscured from the viewer, but there are moments of vivid emotion all the way through the film, as well as a powerful sense of fear. And while it runs to the repeated tune of a child's song, this is definitely not a movie for the kids.

themes, language, violence

28.Jan.20

Performances are often unsettlingly naturalistic and understated, creating characters who are mercurial and unpredictable. Each person is grappling with internal issues that feed into his or her behaviour. At the centre, Sigurdsson is fascinating, creating a man who is immediately likeable but becomes more terrifying as layers begin to peel away. This sends Ingimundur's various relationships into some frightening directions. The question is whether he's still likeable, or maybe he's a villain now.

Palmason's filmmaking is rhythmic and moody, never very easy on the audience, especially with the narrative's whiplash emotional turns. From extended silent sequences to offhanded family gatherings to a deliberately scrappy brawl, it's impossible to predict what might happen next. But audience members who click into the film's unusual pace will definitely want to know where it's going, mainly because these warring emotions exist inside all of us. Palmason doesn't offer answers, but he reminds us that we're not alone.

themes, language, violence

27.Jan.20

Bafort has a vivid presence, even though she barely says a word in the first half-hour. There's a strong sense that Dafne's mind is spinning as she puts her life together, and that her hazy memories are ringing alarm bells. Cvetkovic cleverly plays the enigmatic Jake as a nice-guy hero while hinting at other motivations. He certainly never comes across as a villain, as the actor evokes true motives and some deeper feelings that drive his action. This does create some sympathy for Jake's inner pain.

Because of its relentless vagueness, the plot drags badly over its extended running time, especially in the final act. Some twists or revelations along the way would have helped keep attention levels higher. Instead, the film takes a more artful approach, maintaining Dafne's perspective as she struggles to work out what, if anything, is true about her life. But there's little in here that the audience can grab onto, which leaves this finely crafted and acted film feeling rather thin.

themes, sexuality, violence

13.Feb.20