Post-war provincial Iceland: around 1950, Freyja, who'd been a plump teen, returns from America, a widow with a 20-inch waist, seven suitcases of dresses, and a list of who ever wronged or ...
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Post-war provincial Iceland: around 1950, Freyja, who'd been a plump teen, returns from America, a widow with a 20-inch waist, seven suitcases of dresses, and a list of who ever wronged or slighted her. She moves in with an aunt and socialist uncle: finding a new husband is high on her agenda, and she's mistrusted by Agga, a pre-teen who's our eyes and ears. The social order and Freyja are more complicated than they seem at first, and so may be her prospects. Class divisions, families ties, pride, the onset of puberty, and the power of Eros sliver the ice.Written by
I can't really pigeon-hole this film. It's a kind of Icelandic Witches of Eastwick soap opera laden with Icelandic lore and served up with a wonderful cast of Icelanders, none of whose names I recognize or have seen before, that takes you down a winding, rocky, barren, stark, coastal path to a place where you wonder what's going on. Having gotten there, you know no more than when you started out but you've had one helluva time getting there. The two principals, Freyja (Margret Vilhjalmsdottir) and Agga, (Ulga Egilsdottir)generate a chemistry of love and intrigue between an older, mysterious woman and the younger, naive but precocious prepubescent girl, mixed with admiration and loathing. This is a delightful glimpse into the stark, cold world of Iceland, their subtle class system and some marvelous faces. Margret Vilhjamsdottir's has the same stark, sharp beauty of Aussie Nicole Kidman with eyes that can light fires and Ulga Egilsdottir's face is a delight to watch. All in all, this is a real romp of a film and I do love the non-ending.
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