An excellent slow burn psychological drama brimming with creative care from writer-director Hlynur Palmason and superb authentic performances from the cast. Ingvar Sigurðsson Is compelling and unpredictable as the grieving cop on compassionate leave and Ida Hlynsdottir as his granddaughter gives an astonishing show of maturity as a child actor and completely holds her own alongside one of the heavyweights of Icelandic cinema. A real find of a film.

This is quite a melancholic/atmospheric film, featuring some great cinematography, cloudy Icelandic shots (the choice of film title becomes very clear within the first few minutes of the film - the irony of it being called 'white, white' when the content is distinctly 'black, black' did not pass me by either) and I also appreciated the use of instrumental music in the background at key moments, to perhaps help the viewer imagine the state of the people depicted on screen. Suffice to say its got quite a mysterious feel to it. I couldn't help wondering what we'd learn about the rather quiet and sullen main character and his grand child, who I was concerned for given the man's temperament. There's even a surreal element to this film, with segments relating to a particularly bizarre show originally depicted on a 온라인카지노추천 screen within the house (during the film), which sounds really quite sinister and, of course, mysterious, plus ominous. It's perhaps a hard film to describe as such but I wouldn't want to provide spoilers, so I'll leave it pretty much at that. If your a fan of Scandi noirs, of European mystery dramas, then yes, I would recommend this film.

A White White day is the most harrowing, most depressing, and most realistic interpretation of grief in any movie I've ever seen. Throughout this movies 109 minute runtime, we are shown one of the most emotionally harrowing films to ever come out. This is a cinematic experience that remains completely unparalleled. 10/10

Slow-burning but with an amazing direction and scenes full of pathos, grief and sadness. Interesting

I loved it, but it won't be to everyone's taste; it's oblique and nuanced, with a very variable pace. It's Icelandic, so they're all watching each other carefully all the time (through traffic cameras in this movie), despite the low population density. Not easy to forget, though, and the acting is outstanding.

So beautiful to look at. You immerse yourself into it slowly, without even noticing it.

The naked end, the camera's patience. The mist. Buddies back at the police station. Lead, Ingimundur, played with clenched teeth by Ingvar Sigurðsson, is overflowing with compassion and heartless desperation. The whiteness of the title more the contained weight of snowfall, than the emptiness of a future with no one to confront, and only a blank page on which to betray one innocent in the cleaned-out landscape whose trust is unequivocable – except for the horses. The movie makes much of time passing, but slowness is relative. One extended scene, small brown bolder bounces joyously down and down the hill, finally dropping into the water. Its liberation is short-lived. Its tumble stops in a new environment, underwater. It won't be going anywhere else for a while. When change comes, it is with dangerous force. Ingimundur may be mentally vulnerable, but his body is fit and determined.

This is a remarkable film and for those that may be familiar with some of the subjects that it touches on, can be highly emotional. Other reviewers have left comments of the powerful effect that the setting gives the film, in a landscape dominated by the powerful natural relentless forces of nature. Into this setting we drop an alpha male lost in the grief of this wife, unable to express emotion until he suspects his wife of having had an affair, then the full force of his suppressed grief , anger , rage and emotional isolation erupts with savagery, strangely to be mastered by the forces of nature. Only in the final scene does the beginning of a long journey back to life begin to seem possible as veneer finally begins to crumble. Yes this really is a film worth watching

It may take trudging, but the fantastical dream sequence like camera work and the bond between grandfather and granddaughter make it all worth it.

Loved this, especially the chemistry between grandfather (Sigurdsson) and granddaughter (Hlynsdottir), who share several riveting scenes that drive so much of the film's mood and warmth. And the role of weather, mist and rain as characters, indeed fates, intervening in the human drama. Superb study of grief, temporary madness, and various shades of fidelity.

This is a wholly successful and riveting examination of grief, suspicion and finally - the complications of love. Ingvar Sigurdsson - in a career-best performance - is a policeman who has taken a therapeutic break from his job after his wife dies when her car careers off a mountain road. He is building a house for his daughter and simultaneously looking after his young granddaughter. His grief leads him to suspect his wife had been having an affair. Every aspect of this marvellous film is superbly judged: the performances, cinematography, editing, music, script. Not a weak link anywhere. It should be seen by anyone with a serious interest in cinema.

Powerful portrayal of coming to terms with loss. It's a movie about the main character facing himself and discovering someone he never knew. A beautiful, both tender and sharp-edged relationship with his granddaughter. The little girl gives such a believable performance. At points in the film, he is a wounded Christ figure bearing the world's grief. But the granddaughter, then too, could be sen as a picture of grace, a light in the midst of her grandfather's dark, bereaved, inner world. Like all Icelandic film, scenery and weather are stunning character actor's in their own right. — Ivan & Julie

Aimless nonsense. There was no plot. If you liked Birdman you'll love it. If you have taste, I wouldn't waste an evening

𝘈 𝘞𝘩𝘪𝘵𝘦, 𝘞𝘩𝘪𝘵𝘦 𝘋𝘢𝘺 is yet another truly fine entry in the impressive list of recent Icelandic films. From the opening shot, Pálmason begins to set a tone. Using the extreme severity of the island's weather, the viewer is set in an atmosphere of harsh light, a bitter storm, and imminent danger. The story line builds continually towards the inevitable encounters to come, maintaining realism throughout. The acting is strong throughout, led by a most impressive Ingvar Sigurðsson. Nice work also by Ída Mekkín Hlynsdóttir as the loving young granddaughter. I liked Pálmason's use of the image of the house as it goes through the seasons after the wife's death; showing the constancy of the home, how it never changes, just as Ingimundur's love is still constant for his lost wife. The final scene, set to the song "Memories" by Leonard Cohen, gives us a look at the lead character for the first time just as a man longing for the love he now only has in his memories. 4 stars

A White, White Day is a film about grief and the process of coming to terms with it. It's an impressive film that slowly burns through out. Set in a remote village in Iceland the film begins with a car slowly driving through fog before plunging over an enbankment. We soon learn the car belonged to the wife of local police officer Ingimundur. Her death sends him into a spiral of grief and rage. He suspects there might be foul play and tries to uncover the truth. But even though this is central to the film it does not unfold as a thriller but rather as an examination of the grief process. We see Ingimundur building a house for his daughter, visiting a therapist to cope with his grief and most importantly spending time with his beloved granddaughter. This is the crux of the film, the relationship between them is special and shines a light on their shared past and hopeful future. This is a beautifully realised film, full of empathy and pathos. Performances are great, especially Ingvar Eggert Sigurosson as the grieving husband. The film has strange but beautiful aesthetic choices too, making for an unusual but fullfilling drama.

I was very much blown away by this movie. I cannot name a single weak element of it. The performances were phenomenal, not least by Ída Mekkín Hlynsdóttir, who gave one of the most natural and beautiful child performances I've been blessed to see in a long time. Ingvar Eggert Sigurðsson was also a standout, with beautiful moments of subtlety that show his prowess as an actor. The film used the country of Iceland to its advantage, with some absolutely beautiful cinematography, with many of the shots and scenes living up to the movies name. Extraordinary directing and writing also show how amazing this movie truly is, but the most prominent thing was sound design and score. The soft whistling tones of violins that play throughout the movie create an almost astoundingly haunting atmosphere, and with a both beautiful and chilling score, it's quite alluring to just close your eyes and feel it all wash over you. Overall, I'm being completely genuine when I say this may be the best movie of 2020, and will hopefully be a contender for Best Picture. This is a movie which I recommend everyone and anyone watch. 9.8/10.

I thought it was ludicrous. Not a shred of psychological truth (and that is just for starters). To take only one example: Oh, hello. You, who crashed into me idiotically at soccer the other day with no consequences, want me to get in your car late at night? Sure. I'll just close the door and do that . . . . without mentioning it to my wife and children, of course.

I thought the acting was outstanding and really enjoyed the exploration of the mutually loving relationship between grandfather and granddaughter. However, the movie was painstakingly and painfully slow in it's narrative. I though the writer/director was very heavy handed in his cinematography, overusing symbols and metaphors through prolonged shots of a dwelling across multiple seasons, a rock tumbling down a mountain, a winding road with poor visibility. The discordant violin music in the first half of the film certainly added to the tension I felt as a viewer ;)

Amazing bit of film making. The girl was astonishing.

A gorgeously filmed, well-acted tale of loss, romance and revenge that presents its story in novel ways, with ample symbolic references that cleverly reinforce the thrust of the narrative. Director Hylnur Palmason, handily a rising star, inventively tells his tale in intriguing ways, such as effectively letting his cinematography do the talking in place of words, a technique from which other filmmakers could learn a lot. However, despite the picture's many strengths, it meanders somewhat in the middle, taking longer than it should to pin down what it's trying to say. A little tidying up, slightly quickened pacing and greater emphasis on its core underlying message would have worked wonders to make a good film an even better one.