ICELANDIC CINEMA
Stark industry…
The early 20th century saw Iceland’s cinematic ambitions sparked by pioneering documentarian Loftur Guðmundsson, who chronicled the country’s belated journey into the industrial age, focusing on stark landscapes and growing fishing villages in 1925’s Iceland In Moving Pictures. However, the first ‘big’ Icelandic film, 1954’s Salka Valka, based on Nobel-winning Halldór Laxness’ novel, was primarily a Swedish effort.
By the late 1970s, Iceland saw shoots of a film industry emerge. Leading the charge were a trio of directors; Hrafn Gunnlaugsson tapped into the Sagas for visceral historical dramas (e.g. 1984’s When The Raven Flies), Ágúst Guðmundsson explored the nation’s move into modernity, and Friðrik Þór Friðriksson’s artful and often experimental docs and features showcased Iceland’s bursting creativity and richness of contemporary life.
Iceland’s stark and varied alien landscapes paired with its proximity to Europe and North America has given rise to a thriving production services industry, hosting big-budget Hollywood fare, including Darren Aronofsky’s Noah, Tom Cruise sci-fi Oblivion and Star Wars epics
The Force Awakens and Rogue One.
As Icelandic filmmakers became more adept with the cinematic language, more and more genres were combined with prevalent themes of island living, a changing community, stoic patriotism and the temptations and challenges of modern life. While early attempts at thrillers and action were clunky, the nation’s darkly absurd sense of humour was impeccably captured in comedies Stella On Holiday (1986) and Remote Control (1992).
Iceland’s native production efforts have branched out recently. Spearheaded by filmmaker Baltasar Kormákur, the country has seen local RVK Studios make Everest (2015), the construction of a Pinewood-sized film studio in Reykjavík and its long-form programming reach international audiences, such as Nordic noir series Trapped hitting big on BBC and Netflix producing volcanic fantasy sci-fi Katla, both helmed by Baltasar. EE