Godland - Nella terra di Dio

Iceland is terrible and beautiful.

A wooden trunk is uncovered with seven photographs in it from a hundred and fifty years ago in Iceland. The trunk belonged to a Danish priest who died there. Among the images are snow covered mountain ridges, a waterfall, glacier, and a portrait of a girl on a horse. Godland imagines the circumstances of how the photographs were taken.

A young Danish priest, Lucas, is assigned to a remote Icelandic village. He is told to adapt to the people and place, but because he is arrogant, he does neither. Against the advice of his guide and despite freezing rain and snow, Lucas insists upon going into the mountains and crossing a treacherous river. By the time they make it to his assigned village, Lucas is miserable, detested, isolated, and barely alive. Lucas is destined to become a part of Iceland, but not in the way he desires.

The sights and sounds of Godland are exquisite and resplendent. Listen to the women and birds singing, the ocean swells, the roar of a waterfall, a fierce river current, and volcano rumbling. Peer beneath the surface of the river, look across ice fields and canyons, see raindrops beginning to fall on smooth and sable stone, find your way through the thick fog, and gaze up close into a woman's eyes.

One of Lucas' greatest mistakes is seeing himself apart from nature, animals, and the local people. In showing the cycles of the seasons, and of life and death, Godland gently makes us aware of this crime. It is just one of the many wonders and complexities of this compelling, visually stunning, and thought-provoking film.

Godland premiered in Cannes and I saw it at the Toronto International Film Festival.

A bit slow and vague to my personal taste the movie is divided in two parts that shows the travel and settlement of a young Danish priest (protestant) and photographer to a remote village on Iceland, on the 19th century (then a colony of Denmark, from 1376 to 1918), with distinct languages.

The first part focus on the travel and hardship of the travel with the loss of a friend and rising animosity between the priest and some people of the party; the second part focus on the settlement of the priest and some of the locals, with rising of of disputes and claims, while he involves with the daughter of a local farmer and a builder that acompanished him the first part of the movie.

The photography is marvelous with the Icelandic landscape and to a degree it shows the variation between the seasons and the body and soul of man, that loses gradually his aim and mission till he looses all of his former personality.

But other than that it didn't have a really strong message being more a display of beauty in harshness landscapes and personalities than having a message on itself. For this I score it with a 6.5 out of 10.0 / B-.

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Visuals: 10/10. Sound design: 10/10. Storyline: 10/10. Where this film loses me is primarily the storytelling and dialogue. Some things happened in this movie that just felt odd and out of place. Some characters said/did things that made me feel like i had missed a huge part of the movie. The dialogue was a huge reason that the storytelling was inadequate. All the characters feel, though seemingly on purpose, extremely stiff and nothing they say flows at all. However, like I said, that was probably Hlynur Palmason's intention for the movie is an adaption of simple photographs which is evident in the cinematography. This film is not really a movie so much as a slideshow, which, although it makes for stunning photography and a unique shtick, makes the characters less relatable. However, I must say there were moments near the end where a felt a strong bond with the protagonist that I hadn't expected throughout the first hour and a half.

Unlikely to appeal to anyone seeking a film experience that features a straight forward narrative or easy to digest themes/events, Hlynur Pálmason's Denmark backed and Iceland shot epic is a film happy to enthral and mystify in equal measure, creating an offering that is at times majestic and at other times frustrating but one that at all times provides some of the most hauntingly beautiful captured imagery of the modern era.

Inspired by a series of photographs discovered in Iceland that were taken by a visiting Danish priest in the early 19th century, Godland follows the adventures of Elliott Crosset Hove's young Danish priest Lucas who finds himself tasked with venturing to the rugged lands of Iceland to establish the good word of God only to find his mission constantly running into roadblocks, roadblocks that threaten to destroy Lucas's faith, his sanity and his very life.

Creating an off-putting mood not dissimilar to the feeling the character of Lucas would be dealing with, Godland is an unnerving and uncomfortable film in many ways, as we like Lucas find ourselves in an unfamiliar setting with little context or background about what has come before and what is still too come and while at times early on it may appear as though Pálmason's film is heading in a certain direction, it remains an unpredictable and frequently surprising feature in ways both good and bad.

Throughout this strange tale, seeped deep in Icelandic custom and lore, Pálmason and his director of photography Maria von Hausswolff create some of the most eye capturing imagery you're likely to see from the cinematic medium, from raging waterfalls, precarious cliff top paths or decomposing horses, Godland is overflowing with visual beauty that won't soon be forgotten by engaged viewers giving this film an almost Malick like majesty that its story and characters are unable to match.

Most prominent with Lucas who is a hard central figure to warm too and joined by a plot-line that isn't always easy to understand from a point of view of clearly identifying its message or meanings, Godland isn't an easy film to fall in love with, despite its incredible artistic achievements, making it somewhat of a missed opportunity to create a modern day classic that explores themes of God, love and ones place in the wider world.

Final Say -

Visually one of the most spectacular and memorable offerings of the year, Godland's strange story and equally strange characters make it a film hard to warm too despite its many noteworthy technical accomplishments.

3 1/2 fireside stories out of 5.

Jordan and Eddie (The Movie Guys)

GODLAND reminded my of MEEK'S CUTOFF, and not just because of the squarish aspect ratio. Both are a journey across harsh landscapes that test and transform people. But to my mind it is no BLACK ROBE. I've read reviews calling the main character, Lucas, pious with a desire to save souls etc. I didn't get this feeling AT ALL. He seemed more preoccupied with taking photos than being some kind of head in the sky religious zealot on a mission to spread the word of God (as in BLACK ROBE). There's very little Bible thumping to be had. Other reviewers have also called it 'bone-chilling', 'horror' etc. It's none of these things. I'm not sure why they are reaching for such superlatives. It's actually a fairly pedestrian story and the dramatic moments came as something of a surprise (to me at least). I found the ending somewhat unfathomable as well bc, for me, little led up to it. Still, it was satisfyingly bleak with majestic mountains, mist, rivers and glaciers. But really, it could have been much more,