5.7/10
413
3 user 8 critic

Borgríki (2011)

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Set in modern day Iceland, an immigrant vows revenge after losing his unborn child in an attack by a crime syndicate, thereby binding his fate with a troubled policewoman, her corrupt police commander, and a crime lord who's losing his edge.

Director:

(as Olaf de Fleur)

Writers:

(screenplay), (screenplay)
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1 win & 8 nominations. See more awards »

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Cast

Cast overview, first billed only:
Zlatko Krickic ...
Sergej
Ágústa Eva Erlendsdóttir ...
Andrea
...
Gunnar (as Ingvar E. Sigurðsson)
...
Margeir
...
Rúnar
...
Ingolfur
Elva Ósk Ólafsdóttir ...
Katrin
...
Jói
Gladkaya Luna ...
Jelena
Leo Sankovic ...
Stanko
Stanko Djorovic ...
Ivan
...
Svetlana
James Davis ...
Gunnar's Bodyguard
...
Jimmy
...
William
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Storyline

When a foreign mafia decides to take control of the Icelandic drug market, a police woman lost in violence, a mechanic revenging for his lost son, a crime kingpin with a heart condition, a corrupt officer in love with a prostitute will destroy each other. Written by Anonymous

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Details

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Release Date:

14 October 2011 (Iceland)  »

Also Known As:

City State  »

Filming Locations:


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Box Office

Budget:

$800,000 (estimated)
See more on IMDbPro »

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Technical Specs

Sound Mix:

Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

This film was produced without any public funding. The staff worked on low salaries to be able to make the film. See more »

Connections

Remade as The Wild One Hundreds See more »

Soundtracks

Burn tja
(?)
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User Reviews

 
Melancholy Thriller
13 November 2012 | by See all my reviews

Structurally and thematically similar to Doug Liman's "Go" and of course "Pulp Fiction" - the template to too many multi-stranded, time-hopping urban crime dramas - City State's milieu, a drab Iceland entirely devoid of folkloric landscapes, is more original than the content. It is a tale briskly told, that trades depth for pace, and some suspension of disbelief is required for the plot to convince. However the performances- particularly Zlatko Krickic - do partly compensate for the sketchy nature of the narrative, although both British actors seem even more out of place than their characters. Ultimately the combination of fashionable verite camera-work and grim mise en scene bolted onto contrived story-telling does not quite work and a promising socio-political drama about immigration, crime and authority barely peeps through its gangland mask.


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