December 27, 2023
FILM: GODLAND
DIRECTED BY: HLYNUR PALMASON
STARRING: ELLIOTT CROSSET HOVE, INGVAR SIGURDSSON, VIC CARMEN SONNE
RATING: 3 out of 4 stars
By Dan Pal
This year there have been an abundance of films that clock in at over 2 hours that really test one’s patience. Godland is no exception. Elliot Crosset Hove stars as Lucas, a 19th Century priest from Denmark who is tasked with creating a church in a fairly uninhabited part of southeastern Iceland. The early scenes are promising, with Ingvar Sigurdsson as Ragnar, an older gentleman who fills Lucas in on all that Iceland is, including a land full of natural gases from the earth that can lead to men “lose their minds.” This hint of humor pops up here and there throughout the 143-minute film but it mostly plays like a quiet contemplative reflection on morality and the beautiful, albeit rough, terrain of Iceland.
Opening title shots tell us that the first photos found in the region inspire the story we are about to see. It is Lucas, the priest, who travels with his cumbersome camera equipment that shoots these stills of locals with typical 19th Century somber-looking faces. The film we view is shot in standard aspect 4:3 ratio giving it a scratchy 20th century look, complete with curved frame corners. What IS captured is quite beautiful. I’ve been to Iceland so I was anxious to see the visual wonders I experienced and this film didn’t disappoint.
As Lucas makes his way via sea and then land, with several horses, workers, and a loyal dog, he must contend with wind, deep rivers, and rocky surfaces. Director Hlynur Palmason spares nothing to capture this luscious landscape. It’s hard to believe that none of the animals featured in the film were harmed (apparently three horses did die during the long production of this film.) Their natural reactions to the people and environment do not seem very “trained” and there is no doubt a lot of improvisation was required due to their various unpredictable movements.
All of this IS very interesting to view but some of the scenes overstay their welcome. Palmason is so enamored with Iceland as a character that he often lingers over various settings as if he wants us to view them as alive and too beautiful to turn away from. This adds a certain documented realism to the film but it also slows the pace down considerably. At one point, he edits in several shots of a volcano erupting. The images are spectacular but do not at all advance the plot. The overall pacing of the film is quite languid (although not as slow as another film on the Oscar shortlist: France’s The Taste of Things.)
As far at the plot goes, Lucas becomes increasingly disturbed with the harrowing journey. His expressions are intense and almost-zombie like at times. He begins to lose his mind, as predicted, and has confrontations with Ragnar, leading to some actions that are from priest-like. As such the last half hour does wrap the narrative up in an interesting, if bleak, way while also keeping to the film’s generally opaque vision.
Godland is not a film for those who need constant action or plot development. It’s definitely beautiful and creates a portrait of a country that is far from iced over. (There is more ice in Greenland than Iceland, which really got its name as a variation of “Island.”) There’s turmoil, rough terrain, and gorgeous scenery and horses to admire though.
Godland is Iceland’s submission for this year’s Oscars. It can be viewed on The Criterion Channel.
FILM: GODLAND
DIRECTED BY: HLYNUR PALMASON
STARRING: ELLIOTT CROSSET HOVE, INGVAR SIGURDSSON, VIC CARMEN SONNE
RATING: 3 out of 4 stars
By Dan Pal
This year there have been an abundance of films that clock in at over 2 hours that really test one’s patience. Godland is no exception. Elliot Crosset Hove stars as Lucas, a 19th Century priest from Denmark who is tasked with creating a church in a fairly uninhabited part of southeastern Iceland. The early scenes are promising, with Ingvar Sigurdsson as Ragnar, an older gentleman who fills Lucas in on all that Iceland is, including a land full of natural gases from the earth that can lead to men “lose their minds.” This hint of humor pops up here and there throughout the 143-minute film but it mostly plays like a quiet contemplative reflection on morality and the beautiful, albeit rough, terrain of Iceland.
Opening title shots tell us that the first photos found in the region inspire the story we are about to see. It is Lucas, the priest, who travels with his cumbersome camera equipment that shoots these stills of locals with typical 19th Century somber-looking faces. The film we view is shot in standard aspect 4:3 ratio giving it a scratchy 20th century look, complete with curved frame corners. What IS captured is quite beautiful. I’ve been to Iceland so I was anxious to see the visual wonders I experienced and this film didn’t disappoint.
As Lucas makes his way via sea and then land, with several horses, workers, and a loyal dog, he must contend with wind, deep rivers, and rocky surfaces. Director Hlynur Palmason spares nothing to capture this luscious landscape. It’s hard to believe that none of the animals featured in the film were harmed (apparently three horses did die during the long production of this film.) Their natural reactions to the people and environment do not seem very “trained” and there is no doubt a lot of improvisation was required due to their various unpredictable movements.
All of this IS very interesting to view but some of the scenes overstay their welcome. Palmason is so enamored with Iceland as a character that he often lingers over various settings as if he wants us to view them as alive and too beautiful to turn away from. This adds a certain documented realism to the film but it also slows the pace down considerably. At one point, he edits in several shots of a volcano erupting. The images are spectacular but do not at all advance the plot. The overall pacing of the film is quite languid (although not as slow as another film on the Oscar shortlist: France’s The Taste of Things.)
As far at the plot goes, Lucas becomes increasingly disturbed with the harrowing journey. His expressions are intense and almost-zombie like at times. He begins to lose his mind, as predicted, and has confrontations with Ragnar, leading to some actions that are from priest-like. As such the last half hour does wrap the narrative up in an interesting, if bleak, way while also keeping to the film’s generally opaque vision.
Godland is not a film for those who need constant action or plot development. It’s definitely beautiful and creates a portrait of a country that is far from iced over. (There is more ice in Greenland than Iceland, which really got its name as a variation of “Island.”) There’s turmoil, rough terrain, and gorgeous scenery and horses to admire though.
Godland is Iceland’s submission for this year’s Oscars. It can be viewed on The Criterion Channel.