Most of the film is set within the mind of the protagonist, played by Jim Carrey, on the night the erasing takes place. It is sort of a film length version of the scene set inside Malkovich´s head in Being John Malkovich, in the same way that Brave New World was a page in Huxley´s first novel, Chrome Yellow. It´s all well and good, but it takes a long time getting there. We´re used to Kaufman by now having twists at every turn, but when the payoff comes here, it is impressive. The couple get together again, not knowing that they have been together before. An anonymous tape reveals their former relationship together, and their confessions why they cannot stand one another. The couple is then faced with the prospect of whether they are ready to go through everything again, knowing how it ended before. The ending of the film is left suitably open, a relief from standard films which usually have the happy couple overcome all difficulties and incompatibilities in character and social standing and ride off into the sunset. Perhaps we are being told too often that love conquers all. Can a relationship that´s already gone to the dogs once really be salvaged? “Friends” seem to think so. But then, they were never all that applicable to the real world.
Aside from the leads, most of the actors in ‘Land Ho!’ are either Icelanders in service jobs, or people associated with the production. Alice Olivia Clarke, who appears in a crucial late scene, is neither. Canadian-born, Alice Olivia has lived in Iceland for over 20 years, and in addition to acting (you maybe saw her in Dagur Kári’s ‘The Good Heart’, she works in Hafnarfjörður as a mosaic artist and designer. We discussed her experience with the film over email. You play a visitor to Iceland. How was it getting into that mindset? Did you think about Iceland in a
Way back in June 2011, English film editor Nick Fenton was one of the lucky few sitting in the crowd at the Manchester International Festival waiting to experience the live premiere of Björk’s epic Biophilia project. David Attenborough’s voice came over the speakers, the screens lit up, and the lights went down, and for the first time an audience was transported into the magical world of Biophilia: from the young and excited girl-choir to the specially constructed stage and dramatic new instruments, the dizzying array of nature footage, the firing Tesla coil and, of course, the grand dame herself, bobbing
Following the astounding success of their last collaboration, “Dansaðu fyrir mig,” (‘Dance for Me’), collaborators (and fiances) Pétur Ármannsson and Brogan Davison have used their new show “Petra” to reapproach some of the former show’s more fertile topics—artistic creation and family—while also dipping into the more complicated aspects of memory, autobiography, and storytelling. Debuting as part of the Lókal international theater festival, “Petra” is ostensibly a glimpse into the life of Pétur’s great grandmother, Petra Sveinsdóttir, whose semi-obsessive passion for collecting lead her to amass thousands of stones in and around her home in Stöðvarfjörður, East Iceland. (Petra decided to turn her
Benedikt Erlingsson’s theatrical debut is a mosaic of several stories that centre on people’s colourful relationships with their horses. The film, ‘Of Horses And Men,’ which came out in late August of last year, has received glowing reviews from critics and it has picked up several awards on the festival circuit, such as the Kutxa-New Directors awards at the San Sebastián Film Festival, and the Best Director Award, at the Tokyo Film Festival. We spoke with Benedikt about his love for storytelling, cinema and horses. Why did you decide to make a film about horses? When you’re starting out in
Young Hera, played by Þorbjörg Helga Dýrfjörð, witnesses the accidental death of her older brother, Baldur. In response, she remakes herself in his image; she adopts his metal music, clothes, and when we see her in her 20s, she is a full-blown metalhead. Despite nearly a decade since the tragedy, the death of Baldur continues to loom over her and her family, their lives consumed by grief. Her mother and father have internalised their grief, manifesting itself in silences and coldness to one another. Though Hera hardly talks about it either, her outlet for all that pain is through her
In the four years since Bíó Paradís opened, the cinema has become a hub for Icelandic independent films as well as others that would not be shown elsewhere. In 2010, Programme Director Ása Baldursdóttir started ‘Cool Cuts,’ a summer series of Icelandic films with English subtitles. Though certainly a boon for tourists interested in Icelandic cinema, she also believes it is an important addition to Reykjavík’s cultural landscape. What was the idea behind creating Cool Cuts? Our idea was to strengthen the visibility of Icelandic filmmaking to English speakers with the best Icelandic films. We think it’s a great addition