To describing Benedikt Erlingsson's sense of humor as “dry” similar to saying that things can become “cold” as we get up to the Arctic circle. After overcoming Iceland's theater platforms and TV screens as author, director and performer, Erlingsson turned into feature films in 2013, where his brand of deadly tragicomic humor has once again struck a national nerve. Its prescriptive feature appearance, Horses and Men, t He won a number of Icelandic academy awards as he criticized an extraordinary observation of bleak meditation through a series of stunning surreal vignettes including three accidental human / horse ways, and the sight of someone being pulled out of a horse's body to freeze it. .
Like his dramatic predecessor, Erlingsson's latest offer was Iceland's official presentation for the Oscar film abroad, although he was again unable to make the shortlist. (So far, Nature Children without Friðrik Þór Friðriksson, which produced From Horses and Men, remains the only nomination in Iceland in this category.) Yet in the midst of the Welsh black jet comedy Woman in War, which means its disaster is despised by the Earth, there is warmth, wit and wisdom that goes beyond national and cultural boundaries, making this a real pleasure.
We open in the breathtaking beauty of rural Iceland, captured by cinematographer Bergsteinn Björgúlfsson, who worked a strange magic on From Horses and Men. Here an eco-warrior fighting large industries under his alias “Mountain Woman” fires an arrow over a power line, causing power cuts and government plans to build a new aluminum smelter. This is an environmentally-friendly cycle walk, played great by Halldóra Geirharðsdóttir, combining the athletic body of Ethan Hunt with Tom Cruise with the depth of a kaleidoscopic character and Liv Ullmann's or Greta Garbo's subtlety.
Not holding blameless industrialists to provoke, Halla leads a local choir, producing harmonious songs offering choral counterpoint to the increasingly incompatible types of modern life. But together with saving Earth's mother, Halla is also in the process of adopting a child, a long procedure brought to an unexpected end when orphaned Ukrainian in desperate need for home. Can Halla continue to employ an environmental war when taking the mantle of a loving mother? Or will the authorities catch up with her hidden activities before she fulfills her dreams?
Aware of the label “favorite festival” attached to it From Horses and Men, Erlingsson has described our stunning Woman in War as a “film of mainstream mainstream mainstream film for everyone… a heroic story has been set in our world of intimate threat”. Our playful description of a harrowing rhythm that reverses action film stereotypes is great, trying DIY Mission: Impossible riffs, presenting his life or death is struggling in an exciting way from the web.
Erlingsson names real life environmentalists such as Berta Cáceres and Yolanda Maturana as inspirational figures, but her story has a more legendary feel, incorporating legends such as Hallow's Artemis, the Greek deity of the desert. This endless theme is emphasized by Erlingsson's adventurous use of on-screen musicians, whose occasional accompaniments act as a Greek chorus, mediation between the act and the audience. There is a circus element to the three-piece band that follows Hall on its quest, drums, accordion and sousaphone ready. As an escape from the 2015 documentary The Show Show (made by Erlingsson in conjunction with the Sheffield National Fair and Journal), this band seems to contain the sound of Halla's intuition. Unlike its rhythmic, time alarms, a Ukrainian choir offers counterpoint, melancholy instruments and voices (male and female respectively) dramatizing the different elements of the shared soul of our heroine. The suitability of Halla for two sisters, further emphasizing its dual nature.
While Erlingsson recognizes the theatrical effect of seeing instruments outside the context are played on roofs and slopes, or find singers who have worn colorful and who are using them; n serenade characters on lonely roads, nothing turns or aliens about this dramatic device. To the contrary, I found myself being drawn deeper into the world of Halla by the presence of her muscles, becoming even more in her mission as nail tension dances that nail nails with an irrational device.
Geirharðsdóttir commands the entire screen, but she receives considerable support from Jóhann Sigurðarson as Sveinbjörn, the unhealthy sheep farmer who lives alone with her dog, Woman. In a country where almost everyone is a cousin, Sveinbjörn creates an unexpected bond with Halla, one moving and embracing as the very beautiful film itself.