Woman at War (Kona fer í stríð, Benedikt Erlingsson, 2018)
I get the feeling that the writer-director is here channelling the work of Aki Kaurismäki: we have Halla (Halldóra Geirharðsdóttir), is single, middle-aged choir leader who wants to adopt a Ukrainian child and incidentally is running a campaign of ecological terrorism against the aluminium plant owned by Rio Tinto.
Her movement around whatever Icelandic city it is and the astounding landscape is interrupted by two balanced trios — three male musicians and three female Ukrainians who shift from extra- to intra-diegetic. It is sometimes whimsical, it is sometimes threatening, it may even be Brechtian (with a dash of Mel Brooks). It gives the film a whiff of the fairy tale and one presumes that pulling down a pylon wouldn’t have the effect that is shown. There is a further shift into folktale territory as Halla is finally arrested and as the action shifts to Ukraine.
Whilst friends and foes are beautifully drawn — her sister, her alleged cousin Sveinbjörn (Jóhann Sigurðarson) and his dog (apparently called Woman) and a co-conspirator Baldvin (Jörundur Ragnarsson) — but I think a foot is put wrong with the comedy foreign tourist Juan Camillo (Juan Camillo Roman Estrada), whose role is to be cycling near the scene of each crime and be arrested. It feels a little too studiedly quirky — although I see that the same actor (and the person playing Halla’s sister with the same character name) is in the same director’s Of Horses and Men ([Hross í os], 2013) so I wonder if I’m missing something.
This was an unexpected pleasure — and I see that Jodie Foster wants to direct a remake, presumably with herself in the lead. See this before it gets buried.