Godland

Unlikely to appeal to anyone seeking a film experience that features a straight forward narrative or easy to digest themes/events, Hlynur Pálmason's Denmark backed and Iceland shot epic is a film happy to enthral and mystify in equal measure, creating an offering that is at times majestic and at other times frustrating but one that at all times provides some of the most hauntingly beautiful captured imagery of the modern era.

Inspired by a series of photographs discovered in Iceland that were taken by a visiting Danish priest in the early 19th century, Godland follows the adventures of Elliott Crosset Hove's young Danish priest Lucas who finds himself tasked with venturing to the rugged lands of Iceland to establish the good word of God only to find his mission constantly running into roadblocks, roadblocks that threaten to destroy Lucas's faith, his sanity and his very life.

Creating an off-putting mood not dissimilar to the feeling the character of Lucas would be dealing with, Godland is an unnerving and uncomfortable film in many ways, as we like Lucas find ourselves in an unfamiliar setting with little context or background about what has come before and what is still too come and while at times early on it may appear as though Pálmason's film is heading in a certain direction, it remains an unpredictable and frequently surprising feature in ways both good and bad.

Throughout this strange tale, seeped deep in Icelandic custom and lore, Pálmason and his director of photography Maria von Hausswolff create some of the most eye capturing imagery you're likely to see from the cinematic medium, from raging waterfalls, precarious cliff top paths or decomposing horses, Godland is overflowing with visual beauty that won't soon be forgotten by engaged viewers giving this film an almost Malick like majesty that its story and characters are unable to match.

Most prominent with Lucas who is a hard central figure to warm too and joined by a plot-line that isn't always easy to understand from a point of view of clearly identifying its message or meanings, Godland isn't an easy film to fall in love with, despite its incredible artistic achievements, making it somewhat of a missed opportunity to create a modern day classic that explores themes of God, love and ones place in the wider world.

Final Say -

Visually one of the most spectacular and memorable offerings of the year, Godland's strange story and equally strange characters make it a film hard to warm too despite its many noteworthy technical accomplishments.

3 1/2 fireside stories out of 5.

Jordan and Eddie (The Movie Guys)

A bit slow and vague to my personal taste the movie is divided in two parts that shows the travel and settlement of a young Danish priest (protestant) and photographer to a remote village on Iceland, on the 19th century (then a colony of Denmark, from 1376 to 1918), with distinct languages.

The first part focus on the travel and hardship of the travel with the loss of a friend and rising animosity between the priest and some people of the party; the second part focus on the settlement of the priest and some of the locals, with rising of of disputes and claims, while he involves with the daughter of a local farmer and a builder that acompanished him the first part of the movie.

The photography is marvelous with the Icelandic landscape and to a degree it shows the variation between the seasons and the body and soul of man, that loses gradually his aim and mission till he looses all of his former personality.

But other than that it didn't have a really strong message being more a display of beauty in harshness landscapes and personalities than having a message on itself. For this I score it with a 6.5 out of 10.0 / B-.

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GODLAND reminded my of MEEK'S CUTOFF, and not just because of the squarish aspect ratio. Both are a journey across harsh landscapes that test and transform people. But to my mind it is no BLACK ROBE. I've read reviews calling the main character, Lucas, pious with a desire to save souls etc. I didn't get this feeling AT ALL. He seemed more preoccupied with taking photos than being some kind of head in the sky religious zealot on a mission to spread the word of God (as in BLACK ROBE). There's very little Bible thumping to be had. Other reviewers have also called it 'bone-chilling', 'horror' etc. It's none of these things. I'm not sure why they are reaching for such superlatives. It's actually a fairly pedestrian story and the dramatic moments came as something of a surprise (to me at least). I found the ending somewhat unfathomable as well bc, for me, little led up to it. Still, it was satisfyingly bleak with majestic mountains, mist, rivers and glaciers. But really, it could have been much more,

This movie is a feast for your eyes. The colors, sounds and scenery are lusciously incredible and pull you into this terribly, beautiful world that is Iceland. The story moves in a continuous slow beat that makes you feel every moment of the journey. The story unravels slowly but keeps your interest throughout. Some parts were shocking, a few funny in a dark way and some even puzzling. The attention to detail is striking, in every scene the contrast and saturation of color is near perfect. There isn't anything I disliked about this movie. I thought it was a true piece of art. I recommend seeing this movie and being patient throughout.

Fr. Lucas (Elliott Crosset Hove) is despatched by his bishop to a remote settlement in Iceland where he is charged with building a church and establishing a parish. Upon arrival, he is met by "Ragnar" (Ingvar Sigurdsson) - a rather unwelcoming man, who is tasked with guiding him to the hamlet many days trek away. Their journey tests the mettle of the young priest. The hostility of the environment, the indifference of his travelling companions, the cold, the wind, the rain - all of these make him consider seriously what he is doing and whether he actually has the faith. His exhaustion causes him to finally fall from his horse and upon wakening we discover that he has luckily arrived at his destination and is being nursed by "Anna" (Vic Carmen Sonne). He is broadly welcomed and the construction of his church proceeds but he is not a man at ease with his surroundings, his new-found parishioners and but for an increasingly close relationship with "Anna" would be an inch from despair. Is this a place where he can settle and live? The cinematography is gorgeous - make sure you take a jumper when you watch it. The sheer inhospitableness of this island. It was hardly a place for the indigenous ponies, it is certainly not a place for a clergyman used to home comforts now reduced to sleeping in a thin canvas tent! He was a photographer - and the film is inspired by a small collection of his photographs that were found. It was possibly this photography that he felt gave him a purpose as the man we see at the end bears little resemblance to the one we meet in Denmark at the beginning. This features a very strong performance from Hove. He manages the transformation of his character well and that encourages us to feel invested in him and his conflict. I did not enjoy, nor really understand, the last fifteen minutes. The story takes a turn for the brutal and the tragic in a way that seemed to me unnecessary and somewhat inexplicable. Cause and effect - but why? Perhaps I missed something? Anyway, this is well worth watching and though a bit long, is quite thought-provoking at times.