Un'interessante line-up di progetti islandesi a Reykjavik
di Tristan Priimägi
- Una varietà di work-in-progress islandesi sono stati presentati al Reykjavik International Film Festival, tra cui lungometraggi di finzione, serie TV e documentari
Questo articolo è disponibile in inglese.
Iceland’s feature films have enjoyed constant festival success in the past few years, and all eyes are now on the upcoming film and TV projects emerging from this small film industry, which only makes about ten features per year.
Out of the four features presented this year as works in progress at the Reykjavik International Film Festival, the biggest hopes internationally are probably invested in Grimur Hákonarson’s The County [+leggi anche:
intervista: Grímur Hákonarson
scheda film]. This story about a strong woman who has to get her life on track again after her husband’s death is surely looking to repeat the runaway festival success of Hákonarson’s previous movie, Rams [+leggi anche:
intervista: Grimur Hakonarson
scheda film] – especially with the same sales agent, New Europe Film Sales, already attached.
Two other projects in the making presented strong female characters in central roles, with Silja Hauksdóttir’s Agnes Joy showing the life of an 18-year-old girl within a family power struggle (produced by Vintage Pictures), while in The Deposit [+leggi anche:
scheda film] by Ásthildur Kjartansdóttir, middle-aged Gisella shows hospitality to two female immigrants by offering them somewhere to rent, but soon a culture clash starts to emerge and Gisella tries to gain control of the situation, which is rapidly getting out of hand.
The feature-film projects were rounded off by A White, White Day [+leggi anche:
intervista: Hlynur Pálmason
scheda film], directed by Hlynur Pálmason and produced by Join Motion Pictures. In the lead role is the omnipresent Ingvar E Sigurdsson, playing an off-duty police chief who starts to suspect that his wife, who recently passed away, was having an affair, and he is determined to get to the bottom of it.
The feature projects were accompanied by three new TV series, which efficiently demonstrated Iceland’s ability to work both within the Nordic crime-series genre (The Flatey Enigma, Trapped 2) and outside it, as yet another strong female lead was showcased in a series called Happily Never After, starring, scripted, directed and produced by actress Nanna Kristin Magnusdóttir. The 6x30-minute mini-series is a bittersweet but comical tale of a woman who hits a midlife crisis after finding out that her husband is cheating on her.
Additionally, four documentary projects were shown off. Booty by Örn Marinó Arnarson and Thorkell Hardarson tackles a global topic and focuses on contraband art and cultural objects that are still smuggled on a massive scale all over the world, even today. The other three documentaries opt to have a more intense human focus. Yrsa Roca Fannberg’s The Last Autumn [+leggi anche:
scheda film] shows the end of a farmstead that has been in a family for generations, Dive: Rituals in Water (by Elin Hansdóttir, Hanna Björk Valsdóttir and Anna Rún Tryggvadóttir) portrays an infant swimming instructor, and in a certain way, Northbound Birth by Dögg Mósesdóttir adds to the water-and-infants theme with its exploration of home births in Iceland.
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