7.5/10
6,527
16 user 73 critic

Virgin Mountain (2015)

Fúsi (original title)
Fusi, a 43 year old man, still lives with his mother. His daily life is characterized by monotonous routine. The appearance of vibrant Sjöfn and young neighbour Hera will upset his old bachelor habits.

Director:

Dagur Kári

Writer:

Dagur Kári (screenplay)
Reviews
10 wins & 15 nominations. See more awards »

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Cast

Credited cast:
Gunnar Jónsson ... Fúsi
Ilmur Kristjánsdóttir ... Sjöfn
Sigurjón Kjartansson ... Mörður
Margrét Helga Jóhannsdóttir Margrét Helga Jóhannsdóttir ... Fjóla
Franziska Una Dagsdóttir Franziska Una Dagsdóttir ... Hera
Arnar Jónsson Arnar Jónsson ... Rolf
Thorir Sæmundsson Thorir Sæmundsson ... Elvar
Þorsteinn Gunnarsson Þorsteinn Gunnarsson
Rest of cast listed alphabetically:
Friðrik Friðriksson Friðrik Friðriksson ... Friðrik
Walter Grímsson Walter Grímsson ... Jörgen
Halldór Halldórsson ... Gústav
Ingunn Jensdóttir Ingunn Jensdóttir ... Svana
Sigurður Karlsson Sigurður Karlsson ... Florist
Zlatko Krickic Zlatko Krickic ... Dusan
Þórunn Magnea Magnúsdóttir Þórunn Magnea Magnúsdóttir
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Storyline

Fusi, a 43 year old man, still lives with his mother. His daily life is characterized by monotonous routine. The appearance of vibrant Sjöfn and young neighbour Hera will upset his old bachelor habits.

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

See all certifications »
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Details

Official Sites:

Official site [Japan]

Country:

Iceland | Denmark

Language:

Icelandic

Release Date:

20 March 2015 (Iceland) See more »

Also Known As:

Rocketman See more »

Filming Locations:

Iceland

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Franziska Una Dagsdóttir, who plays the role of Hera, is the daughter of the director Dagur Kári. According to Kári she had to audition for the part. See more »

Connections

Featured in The Oath (2016) See more »

Soundtracks

Achy Breaky Heart
Performed by Billy Ray Cyrus
Written by Donald L. von Tress
See more »

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User Reviews

 
On Solitude and Defiance
23 March 2016 | by tributarystuSee all my reviews

It was fitting that on watching this film, I was almost alone in the cinema, because isolation and solitude are powerful themes throughout Fúsi. So when you're out by yourself, in the middle of the day, to watch an obscure Icelandic movie showing at an archaic cinema that now uses a projector rather suited for private use, than public screenings, it all kind of falls into place and reinforces the emotional investment in the whole experience.

Fúsi, a 43 year old man-child, but without the usual derogatory connotations of the term, is a tinkerer who lives with his mother, reenacts WW2 battles with his neighbour and works at a hapless job, where he is constantly bullied. Yet, what looks like a bleak and joyless existence, washes over Fúsi like a warm shower on a winter's day. His outlook on life is inhabited by a neutral positivity informed mostly through how naive and passive Fúsi seems most of the time. And all this is tested once he meets a woman who appears to take an interest in him, enabling him to be the nurturer he is at heart.

This story really hit a nerve, as I'm sure it has for many people who have ever felt alone, or love-stricken or stranded. It is a vicious portrayal of the world, which is only redeeming because Fúsi is the kind of character that takes it all in his stride. Otherwise, it gently treads the line of tragedy, but never crosses it. And surely, Fúsi is an idealized altruist with autistic tendencies, but he's still someone you can identify with, because you recognize the gestures, the emotions and the triggers within and around him.

However, the film does tend to be stereotypically simplistic in its bleakness. Whether it is the abuse Fúsi faces, his run in with the law, the relationship with his mother, these occasionally serve nothing more than to amplify traits in the character, respectively "the world", which are all too apparent to begin with. Not to mention that his romantic conception of what is acceptable really pushes the suspension of disbelief to places it should never be pushed. Yet, it is in the romance that the film manages to stay true to itself and believable, hyperbolic gestures aside. Because, hey, we've all been there and sometimes it does play out in your mind the way it all unfolds here. Or thereabouts.

So there it is, an Icelandic experience of philosophical proportions, that is quite certain to leave you ruminating at its conclusion. And empathizing, which is always a good muscle to engage.


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