New Film from Hlynur Pálmason: A Blend of Comedy and Drama
Icelandic director Hlynur Pálmason has brought us remarkable works like the historical drama “Godland” and the enigmatic thriller “A White, White Day.” His latest film, “The Remaining Love,” shifts gears, offering a quirky yet thought-provoking narrative that draws on themes of family and personal struggle. It’s both humorous and, at times, frustrating—a unique blend that makes for an intriguing watch.
Pálmason’s eye for visual composition remains sharp, showcasing the breathtaking Icelandic landscapes. However, this film introduces a lighter, more playful atmosphere that subtly morphs into a poignant exploration of male isolation. While some moments may lack the emotional depth found in his earlier projects, the movie still manages to resonate in its own way.
The story revolves around Magnus, played by Sverrir Gudnason, who is navigating life after separating from his artist wife, Anna (Saga Garðarsdóttir). Together, they share two sons and a daughter. The film features a cameo by Ingvar Sigurdsson, a frequent collaborator of Pálmason. In a somewhat whimsical touch, Magnus and the children engage in playful archery against humanoid targets on poles.
Magnus appears perpetually anxious to reconnect with his kids, but there’s an undeniable distance created by his estrangement. During a swimming trip that doubles as a picnic, there’s a disorienting moment where Magnus glimpses Anna in a way that blurs reality and fantasy—it’s unclear whether it’s real or just a projection of his loneliness and longing. Anna, meanwhile, is depicted as deeply frustrated with Magnus, grappling with her own feelings and the struggle to cope with their separation. Tensions rise, leading to her growing resentment—an unsettling dynamic.
The complexities of their emotional reality are playfully contrasted with surreal visual elements. Magnus’s frustration manifests in an absurd, humorous subplot involving aggressive roosters, reflecting his feelings of inadequacy in his masculinity. At one point, a dream sequence takes a dark turn as Magnus, inspired by a gruesome film, faces unsettling imagery that’s both fascinating and confusing.
There are other surreal sequences too. Anna encounters a rather unkind Swedish art dealer, leading to a bizarre, almost tragic end. Additionally, an old WWII mine mysteriously appears near Magnus’s fishing trawler—adding a layer of tension that is both quirky and symbolic. While the film employs indirect methods to explore the pain of lost love, it feels at times like it skirts around the raw hurt that accompanies such experiences.
“The Remaining Love” is currently being showcased at the Cannes Film Festival, offering a distinctive take on love and familial discord.
