Islands

No pun intended - some movies hit you the right way, some do not. And this one ... I assume most will either be super excited about it, others will be super annoyed by it. The trailer probably made the movie look differently. And while I try to avoid watching trailers ... well I had no choice but to see it - tough to look away when you sit in a cinema.

Anyway, the being different than one thinks is a good, but maybe also a bad thing. There are many ingredients that should make this a movie that hits it right out of the park (which would be more of a baseball term, but wait for it) ... yet it seems to fail and hit the net (there you go with the tennis pun).

The which one is yours (and I may not be talking about the tennis racket here) and many other more subtle things (you said that) ... and many ... many indications that we as viewers can put together to get a picture of things way before the movie started ... those things are really well done ... but funnily enough not ...enough to be super convincing.

There is history - and there is her story ... and their story in this case too. The movie does not make a big fuss about the relationship (especially the past one) ... but you have to wonder if there was an elaborate plan after all? Well you can decide that - and in the meantime really hate the main character for doing almost everything one shouldn't be doing - even things he has been explicitly told not to do (watch out what you tell them - there is a witness) ... so while there is mystery ... the bigger mystery remains: where is this supposed to be going? Or him? Or them of course ... not sure if ... a character finally put two and two together and acted upon it ... I just know that it did not feel as satisfying as it should ... or I thought it should ...

Jan-Ole Gerster's Islands 2025, a German film screened at Berlinale, isn't aiming for grand cinematic statements, and that's precisely its strength. This psychological drama, co-written by Gerster, Lawrie Doran, and Blaz Kutin, gracefully explores a personality crisis against the backdrop of a Spanish seaside resort, weaving in a criminal subplot and questions of infidelity with impressive subtlety.

The acting in Islands 2025 isn't flashy, but it's remarkably effective. Each performance feels natural and nuanced, adding layers of depth to the narrative. Stacy Martin is particularly captivating, exuding an almost aristocratic air. Her on-screen chemistry with Sam Riley is palpable from their very first scene together, creating a compelling dynamic.

One of the film's most intriguing aspects is its use of unspoken narratives. The past is hinted at, a forgotten event that resurfaces to influence the present, but the details are never explicitly revealed. Gerster masterfully avoids cliché devices like flashbacks or exposition, instead leaving it to the viewer to piece together the fragments and interpret the characters' motivations. This delicate approach is both engaging and thought-provoking.

Minor characters, like the local and federal police officers, and especially a camel, leave a memorable impression, adding to the film's rich tapestry. The visuals and sound design effectively immerse the audience in the setting, enhancing the overall atmosphere.

Islands 2025 doesn't pretend to be a masterpiece, but within its chosen scope, it achieves near perfection. Beneath the surface story lies a subtle exploration of exploitation - how we are exploited by others, how we exploit ourselves, and the choices we make in response. This subtext, while understated, adds a layer of depth that lingers after the credits roll. It's a film that stays with you, inviting reflection and interpretation.

The film aims to dive into the deep sea of emotions, offering a psychological portrait of a man adrift-without goals or direction-set against an otherwise idyllic landscape. As he finally gets confronted by his past, the story presents him with a chance to change his life.

*** However, in the end, the film fails to fully deliver. While the cinematography is solid and captures the beauty of its setting, it isn't enough to compensate for the script's inconsistencies and narrative leaps. The film treats its viewers as smart enough to understand what is implied by the script but most crucially, it struggles to forge a real connection between the audience and its main characters. Just when it feels like something significant is about to happen, the momentum deflates, creating a persistent sense of detachment.

*** The final result feels like a missed opportunity. While Islands had the potential to be a compelling character study, it ultimately leaves a bitter aftertaste, making one question whether the two-hour runtime was truly worthwhile.

This is not the movie you will watch with your friends and you are all having a fun evening. It's no popcorn movie and you won't see it ever again.

The thing is, it's kind of like with white lotus. In a cinema where every movie wants to be the loudest, prettiest and deepest; Islands is the shy girl in the corner and will definitely test your patience and attention span.

It's not good, it's not brilliant, it's not THE biggest movie of the year - it's the movie you casually see on a Wednesday evening because you had nothing better to do. It is surprising how something so "boring" can make you feel so many things. Go watch it, but don't watch it now and never trust the dumb cut trailer!'

Enjoy.

"Islands" is a fantastic and at the same time highly entertaining psychological thriller that breaks with classic structures. Tom (Sam Riley) is a bored tennis coach at a hotel in Fuerteventura, where he spends the years after his professional career-drinking in the clubs at night and having one-night stands. He meets the Maguire family, whose son Anton he trains. Soon, Tom develops a fascination for Anton's mother, Anne (Stacey Martin), and the two can be seen as the film's polar opposites.

When Anne's husband Dave disappears for a few days, Tom supports Anne in her search and lovingly cares for Anton. Anne seems liberated and relieved that Dave is no longer burdening her with his presence. When Dave reappears, Anne falls back into her old patterns in a mysterious and strongly dependent way.

For me, the film is a profound psychological drama in which two people meet whose loneliness is so strong that, as a viewer, you want to stand up and shout to the characters: Now, right now, you have to change your life-just take a small step toward each other.

While Tom is empathetic and kind, Anne appears rather cool and unpredictable, yet Tom falls in love with her. When the family flies away again, Tom begins to look at his life from a different perspective, realizing how his routines and rewards-along with the sea and the sun-have kept him trapped.

Sam Riley and Stacey Martin deliver outstanding performances. Riley always seems to have a little too much emotion, too much vodka, too much coke, which contrasts with his inner diligence and the responsibility he takes on. Martin plays her role reservedly, minimally, coolly. Only in one moment, when her husband still hasn't been found after four days, does she reveal her underlying emotions in a restaurant by the coast-downing her drinks, laughing loudly, and arguing with Tom, who tries to bring her back to her restraint because the police have Anne in their sights as the main suspect.

I really enjoyed the film; it was a big surprise because, for a European feature film, it has an astonishingly ambitious narrative scope, is cast with outstanding actors, and repeatedly steps away from the strictness of a tight script to focus on the spaces in between, the unspoken, and the very subtle tones.