From Iceland — Searching for Superstars at RIFF

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Everyone had their theory about what was up with Nastassja Kinski. Her masterclass in the Nordic House seemed like an uncomfortable reminder of the worst date you have ever been on, as repeated attempts were made to extract whole sentences but the modest return was mainly mono-syllabic words. Veteran film theorist Sigriður Pétursdóttir at this moment had the toughest job in show business as she tried to extract information from the superstar. Any information. Sure, Kinski’s private life was off limits, we get that. But she also refused to talk about her films or indeed any subject at all. Was she tired of interviews or conversely, had she not done any in a long time? Did she not speak English? And yet the whole mess was weirdly engaging, not least when Kinski turned the tables and started asking questions of the audience. Perhaps this was some sort of performance art?

After a screening of Cat People, which reminded of why she was seen by many as the epitome of ‘80s femininity, Nastassja was positively talkative. Relatively speaking.

Things did not go much better for hapless interviewers on radio and TV. Nor did they during a Q and A after a screening of Paris Texas, which in itself is about searching for a character played by Nastassja Kinski but with few speaking lines. Perhaps she was staying in character? It was only on the last evening that she started to loosen up. After a screening of Cat People, which reminded of why she was seen by many as the epitome of ‘80s femininity, Nastassja was positively talkative. Relatively speaking. She told us she asked to be allowed into the studio when Bowie was recording the title track. She liked the animals. And Bowie. And just like that, it was all over. The lights went up just as she seemed ready to talk. Apparently, she had just been shy this entire time, as she engaged in long conversations with Sigríður when the microphones were off. Another guest, director Bong Joon-Ho, was happy to speak over coffee but online, it was morning in South Korea as it was approaching late evening here.

The Mean Streets of Bucharest

Then there are the movies, which seem to be a good pick this year. Everyone seems to love the opening film Elskling, a Norwegian production by the Icelandic director Lilja Ingólfsdóttir. But that’s already showing in Bíó Paradís, so I decided to have a look at some of the ones that are exclusive to the festival.

First up was Where Elephants Go. A young man walks the streets of Bucharest trying to pick up women with little luck. Instead, he befriends a call girl who has a daughter that is dying of cancer. The Romanian New Wave continues to deliver the goods and the film keeps you guessing, switching perspectives and themes. Even the death scene is strangely beautiful.

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The next day the film I wanted to see was cancelled, so I went to the international shorts instead. As usual, this is a mixed bag. The most memorable was Hymn of the Plague, about dancing furniture in todays Russia. A couple of the shorts seemed to be missing from the programme.

Iceland As Seen from Near and Afar

On Sunday they premiered a new French film about the economic collapse in Iceland in 2008 called Iceland on the Trail of Democracy. The main focus was on the crowdsourced new constitution which drew admiration throughout the world. The sad coda though, was that it was never adopted. It seems that first-time director Steve Vilhelm wanted to make a positive statement about democracy in these troubled times, but reluctantly had to admit that Iceland is a country like any other, rather than the bright shiny beacon of freedom that it can only look like from afar. In any case, it was an interesting talking point and followed by a Q and A.

It seems that first-time director Steve Vilhelm wanted to make a positive statement about democracy in these troubled times, but reluctantly had to admit that Iceland is a country like any other.

On Monday there was a gem of a film, Five and a Half Love Stories in an Apartment in Vilnius. As it says on the tin, the focus remains on the apartment as different individuals pass through, which reminds a bit of ‘90s movies which followed a specific item, a gun or a 20-dollar bill or indeed a gangster’s briefcase, giving glimpses into the lives of the people who briefly possess it. It does what it does very well.

Cocaine Hippos and Norwegian Cocks

After, I went to see Pepe, a film about a hippo brought from Africa to Columbia to be in the private zoo of cocaine king Pablo Escobar. It’s reach rather exceeds it grasp, some of the scenes narrated by the hippo himself in Afrikaans are interesting but it is way too long and unfocused. Nice idea, though.

Tuesday saw the premiere of Temporary Shelter, a documentary by and about Ukrainians who took up residence in the old U.S. Navy base by Keflavík Airport. First time director Anastasiia Bortuali manages to give an intimate portrait of a group of people who are so close to us and yet so far. And it’s probably the first time a film about refugees in Iceland has been made by one who is.

The next group of shorts, this time focusing on films from the north, was also a mixed bag. Pulse has some nice scenery from Siberia. And Cock, a short about a man from southern Norway who makes the mistake of going to a sauna in the north, is very, very funny. Yes, Norwegians can be funny. Who knew?

Check out RIFF’s schedule and more right here.

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