Belas Criaturas

Baldur has the look that abused kids often have - especially the gentle ones. Totally closed in on himself, hang-dog, afraid to look anyone in the eye. Trying to shrink, trying to go invisible. We are not surprised to see him bullied: his manner is so fearful of attack that he invites it.

We are surprised, however, at how violent the bullying gets when one his classmates smashes him across the face with a wooden post. Suffering a broken nose and fractured skull, Baldur then has to wear a white mask to school, like a bad guy in a pantomime, and this only marginalises him further.

When Baldur's situation and demeanour again attracts unwanted attention from other youths, we expect yet more bullying and at first, we get it. Siggi, Konni and Addi invite themselves into Baldur's life, heedless of his obvious wish to be left alone. They barge their way into his house, and when Konni kicks a hole in the wall, freak out a little bit about what "Balli"'s mother might say. It turns out she doesn't really care, because she's barely around anyway, and the house is squalid and most of the walls and doors are already damaged by Balli's violent stepfather, who also shot out one of the teenager's eyes when he was four, with a BB-gun the stepfather wanted to "find out of it was loaded".

The boys then actually clean Balli's house, and he is more or less a member of their gang of drug-using, vandalising, oft-violent misfits. The other two would have been content with just victimising Baldur, but you see, Addi too has a stepfather, and he knows what it's like.

We know this group is heading for trouble and even greater violence. At first, we empathise only with Baldur, the least-violent and least-trouble causing. The gang seems indistinguishable from the kids that attacked him previously. However we come to know and care for them, especially Addi.

The movie is beautifully shot, which contrasts with the ugly behaviour of its characters. The music is also beautiful at times. Many might find its characters repellent, and it was hard for me to take a lot of the time, but by the time we meet Baldur's stepfather, and realise the connection Baldur and Addi both share, we understand why they are the way they are, and we totally understand why they feel their story needs to take the violent turn it does.

These "beautiful beings" were left behind. They apparently have very little supervision at school - I don't remember any teachers in any of the school scenes - and their parents are absent, either off on drug/alcohol benders or throwing themselves into mysticism like tarot cards when the problems their kids have are urgent and absolutely real.

Young men take what options they have open to them: here they felt there was only one option.

After "Heartstone", I was very interested to see what Guðmundur Arnar Guðmundsson was going to do next. With "Beautiful Beings", an aching, beautiful small-time masterpiece, he's outdone himself.

Lastly, the performance of Áskell Einar Pálmason in the movie as Baldur/Balli is a masterwork. He is so utterly believable the movie could be a documentary about his life. It's so real that our hearts break, not only for the Balli on the screen, but all the kids in similar situations wherever on earth you find people.

The young cast was incredible in this. There were a lot of nuance to their acting, and they brought a lot of depth to their characters. This isn't an easy topic to tackle, and to be able to potray something so raw and real at such a young age really shows how talanted the actors are in this. The story is both beautiful and heartbreaking. I understand the ending, but damn, if I didn't wish for it not to end like that. I guess that's where my disappointment comes in. I understand and respect the ending, but it was also predictable and I just wanted more for the characters, but life doesn't always unfold the way we want. I absolutley loved the first half, the second half became a bit to repetitive, and too brutal for my liking which combined with ending made me wishing for more. I don't know, it felt like there was more to the story than where, and how, it ended.

What a movie. Heartwarming, beautiful, tragic and mystical. I am blown away by all the actors, especially the two main leads Balli and Addi. The range of emotions the were able to play were incredible and heart wrenching.

As a viewer I was transported into these boys life. The film is slow but gripping, as you get sucked in the tragic life of these boys, who stick by each other no matter what. When tragedy strikes you are not surprised, but you still hold out hope that all will work itself out.

Beautiful cinematography. There are lots of shots of The Ocean and smashes up building giving The viewer a good understanding of The enviroment these Boys life in. This movie Will stay with me for a Long time.

A heartwarming story of teenage self-destruction and graphic violence. No, really.

I can't stop thinking about this film. On the face of it, it's about four teenage boys from variously broken homes who smoke, fight and swagger around 1990s Reykjavik causing trouble and doing fairly horrendous things.

But they are friends, and that's what this really is. It's a film about friendship, enduring friendship through the extremes. Sticking up for your mates (even when you should know better). Having your mates stick up for you.

These boys only have each other. Balli has no one to start with - bullied at school, ignored at home, he lives a filthy, pathetic life until Addi takes him into the gang (with the animalistic Konni and weirdo Siggi) after taking pity on him.

We follow the boys on a series of misadventures of teenage impetuousness which build - or sink - in horrifying ways towards the film's conclusion. Konni fights. Addi grows. Balli lives. Siggi pulls bogies out of his nose and chases people with them, but that's not the point.

There's a mildly supernatural aspect to it all as Addi experiences premonitions about what may unfold - they may be real but equally may just be him maturing and seeing the consequences (while doing too many mushrooms).

It's rare to see such fully formed, three-dimensional characters, but by the end of the film you know these kids, you're rooting for them (in spite of yourself). You're one of the gang.

Sturla Brandth Grøvlen's camerawork is divine, director Guðmundur Arnar Guðmundsson's story is moving and believable, the performances are perfect (especially Birgir Dagur Bjarkason, Áskell Einar Pálmason, Viktor Benóný Benediktsson and Snorri Rafn Frímannsson as the kids), the soundtrack is addictive. It's the whole package.

(In Game of Thrones, they spent a fortune working on making the dragon fire realistic, on the basis that if you believe the fire, you'll believe the dragon. Fake VFX would have ruined it. Here, it's the fight scenes. Believe the violence and you'll believe the teenagers, and I don't know if there's an Oscar for best fight choreography but Jón Viðar Arnþórsson and Imma Helga Arnþórsdóttir who did these scenes should win it. As the last reviewer said, this really does look like kids beating each other up - and RIP the extra who gets a door smashed full in her face, I assume she just died in real life.)

I can't stop thinking about this film. And I can't recommend it highly enough.

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Rewatch: Such fantastic details that are too easily missed... The boy Konni trips up in the playground at the start is the same boy who hits Balli in the tunnel. It's just cyclic violence passed on and Konni/Addi are never aware they triggered it all. Such attention to detail, it's magnificent, there's not a wasted second in the film.

Guðmundur Arnar Guðmundsson film from 2022.

Many artists and writers present to us the pain of adolescence, the effects of which they still cannot get rid of in their works. This is one of the most important sources that literature and art have been fed since their existence.

Guðmundsson, born in 1982, I think, has conveyed the pain of adolescence to the audience in a unique and disturbing reality, like a fist in the stomach, as in the films Ártún (2014) / Hjartasteinn (2016).

Guðmundsson's 'storytelling' skill that goes beyond scriptwriting, and the ability to deliver the resulting work to adolescent actors whom no one has given / known before, and always getting good results as a result of this risk, I think, stems from his ability to explain himself to his actors.

Berdreymi, who made its second screening in the world at the Istanbul Film Festival, is once again a Guðmundsson classic and easily stands out from the 2022 films with the closed nature of Iceland and its character reflecting it.

Our character Baldur (Hjartasteinn's young actor's name is a nice detail) was a father figure to all of his friends when he was a wounded child, but he never left his childhood, all the child actors hurt the audience's hearts with their characters, Kristian Eidnes Andersen's great compositions and with camera moves that take the movie to another dimension Thanks to Sturla Brandth Grøvlen, Guðmundsson has outdone herself in her art.

Just as he discovered Baldur Einarsson in the movie Hjartasteinn, he brought Birgir Dagur Bjarkason to the cinema in this movie as well, who will be a great actor with the right direction.

Long story short, Berdreymi is a masterpiece that should be watched not only for those who love northern cinema or 'Coming-Age' movies, but also for anyone who defines himself as a cinephile.