The Northman (2022): Action/Adventure/Drama

A Viking prince devises an elaborative plan to avenge his father’s murderer.

Vicious, challenging, and visually compelling! Whoever follows Robert Eggers’ films, The Witch (2015) and The Lighthouse (2019), knows he’s famous for surrealistic acting, expressionistic photography, protracted shots, and idiosyncratic vernacular. And The Northman is no exception.

The first thing that needs to be mentioned is that Eggers worked closely with historians and archaeologists to meticulously visualise the medieval Scandinavian legend, namely Amleth. And if you are aware of Shakespeare’s “Hamlet”, I’m sure you can put two and two together. The Northman is Eggers’ first studio-level film, and, reading the interviews he gave, one can tell that it is not the film he initially had in mind, but its final cut is not a result he is disappointed with either. That old story in Hollywood’s book where the studios always interfere with the creative processes…

The dialect used, even though not easy to write or speak, will not blow your socks off like it did in his previous films. The reason is that the gore and the violence take the torch and lead your senses to a medieval spectacle where the slaughter of men, women, and children was the way to resolve differences and show superiority. While the film represents a specific historic era and should serve as a reminder that civilisation has evolved, today’s far-right decided to perceive it as a reminder that this is how things should be. Maybe, let them be the reminder that comparing two totally different eras and peoples is a historical fallacy, and their way of thinking is a representative example of unfathomably bottomless buffoonery.

Alexander Skarsgård, Anya Taylor-Joy, Nicole Kidman, Claes Bang, Ethan Hawke, Willem Dafoe, and all the rest of the cast give stupendous performances! Give it a go, it is an amazing cinematic experience you will not regret!

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Stay safe!

Lamb (2021): Drama/Mystery/Horror

On a remote farm in Iceland, a childless couple starts treating an abnormal newborn sheep as their baby.

Rightfully, the highest-grossing Icelandic film, to date, and most definitely, not for everyone! Starting off as an impressive horror, with the sheep’s synchronised and guided movements stealing the show, the sequence cuts off abruptly raising a lot of question marks (even though so does the rest of the film). From then on, the mystery takes over when the appearance of the bipedal baby girl-sheep becomes a naturally accepted family member. This is the biggest part of the film so keep that in mind. Let me rephrase: over a good, solid hour occupies a normality that is anything but normal. In this act, the narrative’s simplicity and the slow editing render Lamb not for everyone. Yet, this is the part where you need to be patient because this normally presented abnormality serves a purpose that will not be directly revealed to you at all. So, as I said, be patient and enjoy, arguably, the best cinematography of the year – Eli Arenson.

Here are a few production details that you might find interesting. As per IMDb, Noomi Rapace had to brush up the Icelandic language since, as a child, she spent some years there. What’s more, prior to principal photography, she spent some time on an Icelandic farm, actually learning how to help sheep give birth. Finally, Lamb is the ‘Official submission of Iceland for the “Best International Feature Film” category of the 94th Academy Awards in 2022’.

Excellent feature debut from director Valdimar Jóhannsson who makes it really hard for me to provide my interpretation on Lamb without spoiling it for you. I’ll just say that issues, such as overcoming sorrow, pursuing happiness, and beating loneliness/solitude in the vastness of an unforgiving nature are Herculean labours individually, much less collectively. Some times, we say: ‘If I were in his/her shoes, I would…’ but the undeniable truth is that we never really know what we would have done if we had to face someone else’s suffering. So maybe, just maybe, sit in silence for a while and try to understand how other people cope and why they cope the way they do because if, God forbid, something similar were to happen to us, the tables will turn. And then people would judge the only way it seems natural for us to cope…

Stay safe!

Arctic (2018): Adventure/Drama

Long after his plane crash-landed in the Arctic, a man must decide whether to stay at the crash site or set out for the unknown to seek help.

The European way of unfolding a narrative with a touch of Scandinavian darkness and a taste of Icelandic identity. Writer/director Joe Penna and writer/editor Ryan Morrison have beautifully paced the drama that leads to the fork that saves your life or points you at certain death. And regardless what road you take, you can’t know which is which. Until it’s probably too late… Penna and Morrison have been collaborating since the beginning of their career to this very day. If you haven’t watched their sci-fi Stowaway (2021), you definitely need to: https://kaygazpro.com/2021/04/28/stowaway-2021-drama-sci-fi-thriller/. Special mention deserves the cinematographer Tómas Örn Tómasson – native Icelander – who knows exactly what he needs to shoot and how. All three collaborate perfectly behind the camera and give you a great value for your money.

And while all crew works tirelessly behind the camera, the person in front of the camera that cuts your breath is non other than the highly expressive and diverse, Mads Mikkelsen. All the struggle, the frustration, the agony, and the horror is written on his forehead while he’s trying to keep it together and save both their lives. Seeing is believing so, go for it and see for yourselves.

Arctic, Penna’s feature film debut, rightfully, received a 10-minute standing ovation at its premiere, at the Cannes film festival. Interestingly, only a few months ago I watched George Clooney’s The Midnight Sky (2020) https://kaygazpro.com/2021/01/04/the-midnight-sky-2020-drama-fantasy-sci-fi/ and I couldn’t help but compare the differences and similarities. As much as it’s tempting present them or some of them now, I’ll resist. They are, essentially, different films and for different reasons I liked them both. If you watch or have watched them both though, ask yourselves this: What drives you? What is it that keeps you going through life’s hardship? When all hope seems lost, how do you find the strength to “squeeze hard”? Don’t undermine Clooney either as both him and Penna present the world through their lens. As we experience life through our eyes.

Stay safe!