Icelandic Classics
Icelandic film classics are not all that old, as regular feature film production only startded around 1979. Since then Icelanders have churned out around 70 feature films. The film that brought international attention to Icelandic cinema was Children of nature (1991) by Fridrik Thor Fridriksson, nominated for an Academy Award for best foreign picture in 1992
The Icelanders are cazy about films. Per capita, no other nation goes as much to movies, and the USA would have to produce 5.000 films each year (India 20.000) to keep up wih Iceland and its 4-5 annual productions. Reykjavik has six modern cinemas with roughly 20 screens.
Some Icelandic goodies Available on VHS and DVD, can be bought on www.nordicstore.net
On Top
(Med allt a hreinu, 1982). The extraordinary musical comedy by Agust Gudmundsson is still on the top as the nations most beloved movie. Two pop music groups, one all-mail and the other all-female, challenge each other touring Iceland in the summer time, experiencing things that beggars description.
Children of Nature
(Born Natturunnar, 1991) by Friğrik Thor Fridriksson. A picturesque and poetic road-movie where in a old couple from the countryside, dislikeing Reykjavik and its inhabitants, escape from the home for senior citizens, steal a jeep and masage to cross moutains and waves to a beloved desolate spot. Nominated for an Academy Award for best foreign picture in 1992. Composer Hilmar Orn Hilmarsson was awarded in the European Film Prize (Felix) for his music.
Icelandic Dream
(Islenski Draumurinn, 2000) a comedy by debuting director Robert I. Duglas. A fresh and funny story of a losers'redemption. In a parody of the Icelandic and American dreams, a passionate local soccer-fan promoting Bulgarian cigarettes ins having his mid-life crisis 15 years to early. In a way the first Icelandic thoroughbred movie, free from the burden of literature, it became hugely popular locally and beat gladiator at the local box office.
Angels of the Universe
(Englar alheimsins, 2000) by Fridrik thor Fridriksson. A drama rich with comic-relief which brought one third of Iceland's Population into theatres and collected prizes abroad. It was adapted from Einar Mar Gudmundssons novel (Nordic Literature Award 1995). This down-to-earth homageto his late schizophrenic brother and poet incorporates comedy and tragedy in an intense approach.
101 Reykjavik
(2000) by Baltasar Kormakur. A comedy adapted from Hallrimur Helgasons' burlesque novel (Nordic Literature Award 1999) describes the lust and laziness of a young man living on social sercurity in his beloved downtown Reykjavik, eloquently fathorming the whirlpools of sexuality and human existence. It has received a lot of awards and joyed a wider international theatrical distribution than probably and Icelandic production before. Spainard Victoria Abril has a leading role.
Regina
(2001) a colorul and funny Reykjavik-musical my Maria Sigurdardottir enjoyed exellent reviews and box office. Script and music are by former Sugarcube keybordist Margret Ornolfsdottir, Bjorks collaborator for two years. The protagonist is a 10 year old girl from Reykjavk who can control other beings with her singing. Children love it.
Seagulls Laughter
(Mavahlatur, 2001) by Agust Gudmundsson. A dark but humorous drama with lots of women and strong feminist themes, set in a fifties fishing-village, adapted from a novel by Kristin Marja Baldursdottir. It dominated the annual Edda Icelandic Film & TV awards 2001 and was Icelands' entery for the 2002 Oscars, The most successful movie at the local box-office in 2001.
Popcorn and cinematic debates during the break
You will hardly find an Icelander who is not a cinema buff. The reason for this is perhaps simple . In a country where it seems to be almost completely dark half the year, and the climate is not conducive to outdoor activites, there simply isn't much else to do. Hence films are often a good conversation starter, and debates are rife (is godfather part | better than part | | , what was in that suitcase in Pulp Fiction, what the hell was George Lucas thinking when he made The Phantom Menece etc). Long winter nights can be spent settleing questions such as "did Anthony Hopkins deserve the Oscar for best leading actor in Silance of the Lambs, even though he didn't get that much screen time?" with the aid of a stop watch (his performance comes in at just under half an hour in total).
There are a lot of cinemas in Reykjavik (per head, of course) and almost all of them have recently been renovated, so they usally have rather comfortable seats and good sound systems. However, as can be determined from a glace at the programs, the large majority of the films on offer ara American mainstream fare and a lot are shown in multiple cinemas, so you have a consderable choice of viewing locatons, and somewhat less choice in the film you watch. Fortunately, there are reasonably frequent film festvals which give you the chance to see films from father afield. One curiosity about cinemas here is the break. The reason for this is that it used to be necessary in order to change the reels. Long after longer reels made this irrelevant, the break still retanined in this country. The reason for this is problably that it encurages popcorn sales, but it is also a nice opportunity to light up a fag and discuss the first half withe the people you came with, although some people find that it ruins the flow of the film. Wich of course is a cause for debate.