“Separate” is a transitional term raised in human relations, subject to conflicting definitions by the partners who have long been inclined to the conflict: an introduction to a permanent end of anyone, a conciliatory pause for the other. In the amazing marital drama and director in an Icelandic, “The Love that remains”, the artist (Saga Gardersdotir) is ready to separate instead of separating from her marine husband, Sverrir Gudnason, while he greatly maintains her presence at the house that he shares at home with their three children, and sometimes. They are the manifestations of home stability, which you find less stable.
Rising in surrealism where the required lives and minds collapse, the fourth feature of Pámeson is an album for a significant, funny and funny scenes of marriage. Although it is completely different in the shape and focus of the amazing “Godland” for the year 2022, the new film shares its predecessor, which is a photo accuracy for ventilation, and an installation with the changing mood of the Icelandic rural landscapes and dry risk, rooted in the harmful weaknesses of human behavior. It can be said that it is not analgesic not to give an opening to compete at the Cannes Festival-I instead played in the first non-competitive presentation section-however, it confirms the increasing position and uniqueness of Pálmason as Auteur.
The painting here is the apparent smaller than “Godland”, but its textual details are rich, and the colors are deep and varied. The same thing, any proposal from childhood may be said about the bright dirt artwork that Anna created for her latest collection. After losing her studio to developers-an opening snapshot composed of the ceiling from the roof shows a vibrant visual metaphor-it embraces the open air as a new work space for it, and the panels are filled with the size of the bed by exposing it to the elements, and placing it with dirt and drawing. It is the approach to returning to the basics that may indicate its desire for new beginnings and simpler living ways.
However, Magnus prefers that things remain as they were always – at least when it is present, given how his job in hunting industrial hunting takes it away from dry lands for weeks at one time. It is clear that Anna has long been left with the greater part of the duties of paternity and motherhood for their three children – the teen Its orders related to homework or bad behavior carry more weight than its weight; Although he sleeps sometimes, the habit that she tries to curb to avoid mixing children, he looks an embarrassing guest in the family home.
It was arranged loosely throughout the year, and Pálmason text is often built from the various short articles of family activity both calm and disagreement: meal times that are sometimes common and sometimes tense, which is a picnic in the afternoon full of the stage in which an informal skirt hints. There is a few narrative movement, although the film acquires a feeling of structure and momentum from a strict sense of reality – from that when Anna, after a day he spent hosting a Swedish purpose and finally rejected, imagines his plane from the sky.
Elsewhere, we are drifting into a more detailed imagination, and its climax in the extended dream scenarios that include the armored scarecrow built in the new Anna Merpressco The studio, or the giant rooster, which chases the subconscious mind Magnos. These are entertaining transformations, although “love that remains” is the most interesting when the line between real and non -reality is more fierce: the fate of one of the apparent characters can be an actual event, a self -hallucinite or deepest deepest wishes. Since the direct relationship drama significantly comes out more than ever, it sharply indicates quiet chaos and violence inherent in “normal” families that transmit its primary imbalance.
Pálmason examines this gradual rupture of warmth and mercy for all parties, and is interested in quiet moments or joy that reaches even the greatest emotional disorders: the mysterious chaos, which the purple binds from the family jam to make, or an evening involved in watching David Attenborong documents on TV in the aftermath of the stressful family. The innovative angular pieces, editor Julius Kreibbo, sometimes raises the energies of paternity and motherhood, the 35 mm Pálmason lens, or often soft and Crepusgular, it interests the extent of weather transformations and landscapes – or reflects it, as the film deviates from strict reality.
Both the two threads are great, exacerbated equally and exacerbated, fragile with nervousness that sometimes relax and part to reveal a nice need. Meanwhile, the children of the directors play the brood on the screen with the amazing spontaneity and the eccentric spirits-the risk of casting the intimate relationship that is clear in the procedures, as does the hero of the adequate, integrated dog, enough for the presence of an individual in the first place.
“Why do the chicken allow the refresh to have sex with them like this?” Children are asked at all dull innocence, taking into account the events in the chicken at the back of the garden. Later, they wonder if their parents touch each other when they are naked, they definitely conclude that they do not do it – or at least not anymore. Al -Hakim, the lyric and the stranger, “the love that remains” flourishes its deep understanding of the strangeness of every individual family, and the gradual confusion in which the growing children look with their parents, as their elders grow smaller and more flawed on that day.