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.

Under The Tree

Released from Eureka Entertainment, Under The Tree is a tale about how relationships can break down quickly in today's society.

Directed by Hafsteinn Gunnar Sigurdsson, Under The Tree is a dark surburban tale that tells the story of a man accused of adultery and forced to move in with his parents. Whilst a custody battle ensues for the daughter, the male Alti (Steinhor Hroar Steinthorsson) is sucked into a dispute between his parents and neighbours surrounding a prominent tree that puts his parents deck in a permanent shadow.

The Icelandic-language film was first premiered at the Venice Film Festival and was Iceland's entry into the 2018 Oscars in the Foreign Language category.

In recent years, European cinema has become this bastion of minor events becoming of greater importance to individuals; as world events become more and more importance on a socio-political scale. This takes a misanthropic approach to the relationships between people and especially neighbours.  In cinema much like life, you cannot get to choose your neighbours; and this film explains how you avoid people in this age of continual communication.

From the outset, there is an ominous air pervading the film; from a father who seeks pleasure in online porn to credit sequence that takes place in a shooting gallery with an eerie violin score playing underneath.

Cleverly, the film juxtaposes this bleakness of tonality by having all the narrative take place over a sun-drenched Icelandic summer full of sunshine and warmth; the characterisation is clear the dispute ferments long brewing resentment within neighbours coupled with a simmering jealousy between generations.

Shot with assured confidence and helped with great naturalistic performances by a unified cast in the majority of hand-held medium close ups, Under The Tree is a clever film full of enrichment and reward that packs an emotional punch.

Under The Tree is out from Eureka Entertainment on 10th August.
My thanks to them for the review opportunity.