Natatorium

 

This new Icelandic thriller from debut feature director Helena Stefansdottir is one of the tensest films viewed in the last few years - blending influences from a range of sub-genres (haunted house; familial drama; psychological thriller) with directorial flourishes from Bergman, and Lars Von Trier. Family dynamism creates a hotpot of emotion that lends itself to film treatments.

The story revolves around a young girl who visits her grandparents in a town whilst she auditions for a drama group nearby. From the outset, her arrival prompts a family reunion of sorts as her parents attend to see her and old wounds and secrets are revealed amidst this troubled situation.

Similar to the Pinter play The Homecoming the insertion of innocence or returning figure disrupts the status quo. Another film this viewer was reminded of was Thomas Vinterberg’s classic Festen (1995) which was part of the Dogme movement with compatriot Trier. That film similarly revolved around a family gathering where a dark secret is slowly revealed prompting paranoia and scrutiny resulting in an explosion of feelings that have been long hidden within people.

The strengths of Natatorium stem from the production design and the claustrophobic environment of the mise-en-scene with little details expressing larger notions exponentially; this along with the single location that entraps the characters cut off from the world - a key trope and strength of 21st century genre pictures Ex-Machina (2014) and The Menu (2022)- with the protagonists all trapped seemingly (one character, Kalli, the uncle is very much bedridden) in one place and strive to move and yet are anchored by this position due to the pull of family.

As well as the dysfuntional family element, there is the use of an indoor pool with water that serves as the device for rebirth and baptism, therefore, the connotations of religion and mystery are apparent adding to the enigmatic quality of the film in general. There is a repeating trend in the film for people seeking to purify themselves by holding their breathe under the water as a rite of passage as well as a physical endeavour of strength and control. 

The film does have that thread running through also with Elin Petersdottir’s matriarch Arora, attempting to illicit some sort of strangehold of control over her family no matter the cost; this has resulted in the children having addiction issues of their own which is laid out within the narrative.

Dark and brooding in equal measure but filmed with a quiet panache that is not overbearing, this is a film about the troubles of being a woman and the juxtapositions of beauty and ugliness and light with dark, and how darkness evades upon innocence.

Featuring a strong lead performance by youngster Ilmur Maria Arnarsdottir as Lilja and veteran Petersdottir as Arora, the matriarch of the family who cannot let go of her grip upon those she has born.

Technically astute due to cinematography and editing all firing on high cylinders of performance, Natatorium is a chilling tale that will garner attention due to the nature with which it presents its delicate subject matter.

Natatorium premieres at the Rotterdam Film Festival in the festival's Bright Future Category from 28th January.