Nói albinói

Noi is a tragicomic tale of a young man who is too bright to be stuck in the dismal life he was given, but not creative enough or tenacious enough to find a way out. He refuses to play by the rules, but has not figured out anything else that he can do or be. He has minor escapes, via a ViewMaster, books, a girlfriend from the city, a gun to shoot icicles with, but they are not ultimately enough to keep him from going berserk. But the tiny Icelandic village where he lives understands him, and refuses to do something so simple as to have him locked up or sent away. Rather, they just understand, and Noi cannot get out of his dreary cold existence.

The role of Noi is played by a skinny young man who looks like he's had chemo, but he's got a beautiful expressive face, which is on-screen almost all the time. I'd love to see the guy with a head of hair. His grandmother provides great comic relief as she does her aerobics, and his dad is a vivid character down on his luck in a way that only Scandinavians can portray. He's drunk on Elvis, and that makes his life bearable.

Hope this movies gets releases--it's beautiful to look at, funny, sad, touching.

You really have to like this kind of movie. The film mainly depicts the boredom and isolation that a teenager in a tiny distant village finds himself in. This will naturally result in a story where nothing really spectacular happens. This is of course necessary to depict the situation in a realistic way, but a lot of films in this genre tend to get boring themselves.

At least this film had plenty of entertainment to keep the viewer's attention. To begin with there's the magnificent imagery of the impressive Islandic landscape. But I'd mainly recommend this film because of the perfect mix of beautiful realism and tragicomedy.

All together a much more colorful result than many would expect from this kind of film and setting.

Coming of age films are a common staple of Hollywood but as with many genres they merely offer variations on a theme. Noi Albinoi is a beautiful film in so many ways from the breathtaking landscape of Iceland to the often used but even more often forgotten ideal of carpe diem (sieze the day). Noi himself is completely believable for anyone who's ever been a teenager, he is an excellent reflection of the aspirations, naievaty and irrepresable emotions that everyone feels at that age. This film kept me amused and touched in equal measures all the way up to its amazing climax. A must see for everyone who understands that life's different when you're 17.

Easily the most interesting and beautiful debut film of these last few years, with "Tan de repente" and "Verboden te zuchten" ; explicitly placed under the care of Kierkegaard ("if you hang yourself, you'll regret it, if you don't hang yourself, you'll regret it too"), Nói is as full of humour as it is desperate (with the exception of "love and getting away", Nói doesn't take anything seriously ; he's constantly playing : to avoid being sucked in by that seemingly absurd adult world which takes itself so seriously ; he dreams of escaping to Hawaii, looking at slides with a cheap viewing-box his mother just gave him for his birthday ; in this minimum world, everything is cheap...)… Frightful feelings of isolation and desolation, of being trapped on one hand ; but on the other hand, as absurdly funny (the parish-priest and Nói haggling over the depth of the tomb he has to dig in the cemetery ! and in Danish, Kierkegaard is the word for cemetery...) as it is anguishingly claustrophobic (Nói trapped, this time literally, in his secret cellar after the avalanche -- probably an allegory of his ever-increasing isolation)…

Filmed with Tarkovskian beauty (a permanent blue cast, at once gloomy, serene and unsettling ; blue maybe because it is the exaggeration, the saturation of white, the white of frost, the white of snow), it could be seen as the fateful tale (told more in images than in words) of a village "idiot" (in the Dostoievskian sense), or a "Stalker", as hemmed-in by (rather nice) people as the village is hemmed-in by (desperately beautiful) nature, doomed for absolute aloneness, into which, starting from mere difference and marginality (the "albino" bit), he will gradually "descend" (taking refuge regularly in that cellar being just another allegory of this) ; a journey to the end of the cold… tragic, but perhaps liberating… even if we can't, whatever we do, escape "fate" (the local fortune teller had rightly seen only "death and desolation" in store for Nói)… Starting rather realistically, the film gets more allegorical as it unravels (the avalanche turns out to have killed a mere 10 people : all those Nói had some contact with, and only those) ; in the last but one image, facing us, looking into his viewing-box, Nói looks like a robot, or a spaceman with his helmet on ; as for the very last image (the "real" view of one of the Hawaiian slides he used to look at : a beach of white sand, palm trees, and the gentle waves of a turquoise sea), it will probably be given as many interpretations as there will be viewers ; it proves once more that images, like words, don't have meaning(s) in themselves, but only relatively to the context into which they come inserted : here, the corniest touristic cliché becomes a thing of many meanings, an unfathomable mystery…

Like Aki Kaurismaki's "Match factory girl", in many ways a fairy tale in reverse...

Although distant in time and space, this work is reminiscent of post-WW2 Italian neorealism, with a sprinkle of dry Nordic humour. The grandiose setting of Iceland's north-western fjord region is the real protagonist: that huge white cone-shaped mountain looms in the background, very similar to Dante's Purgatory mount, meting out penance and confining the souls living within its shadow. The actors - like in neorealistic movies - seem (but aren't) taken from the street, they look completely natural, they have jobs and behave like real people. The title character is amazingly expressive, despite his shaved head and eyebrows. With a fractional movement of the eyes and mouth he moves us to tears or laughter. The dialogues are scanty, but the continuity makes it all very clear: Noi is a child prodigy, who is tied to an inescapable, remote environment. He is at variance with his teachers, but loves - and is loved by - his disjoint family. He dreams of escaping to an entirely different world, a world of sunny beaches and palm trees, taking along the girl he is infatuated with. But deep down he knows his dream is doomed: there is no escape from his icy ghetto - almost.