Such a separation between this and everything else I’ve seen from Pálmason. I watched this in preparation to see The Love that Remains last year and even then, without having seen the latter, I could sense the major shift in energy in relation to his other work. In pretty much every other piece of his filmography he makes use of landscapes to almost an extreme. The setting is a main character. This takes place largely in a factory, tunnels, a forrest and a small house. It’s claustrophobic, it’s punishing, there’s no beauty to be found. Gritty and unpleasant. Excellent filmmaking.

Such a separation between this and everything else I’ve seen from Pálmason. I watched this in preparation to see The Love that Remains last year and even then, without having seen the latter, I could sense the major shift in energy in relation to his other work. In pretty much every other piece of his filmography he makes use of landscapes to almost an extreme. The setting is a main character. This takes place largely in a factory, tunnels, a forrest and a small house. It’s claustrophobic, it’s punishing, there’s no beauty to be found. Gritty and unpleasant. Excellent filmmaking.

Thought I’d revisit Hlynur Pálmason after watching Train Dreams, so instead of rewatching Godland 2022 I thought I’d go for the first feature of Pálmason’s. Vinterbrødre (Winter Brothers) is a spectacularly gorgeous film, shot on crisp 16mm film and set in the stark, textured landscape of a Danish mining company, this film is absolutely stunning. Maria Von Hausswolff’s cinematography is superbly stylish, those static shots and her impeccable understanding of composition is incredible. Storywise this was a pretty substantial piece, filled with some slightly absurdist elements and some very interesting ideas, it was something quite different to Godland. I did really enjoy the strangeness of it, it felt very raw and exciting, the eerie electronic score really added onto this experience. A very great film, will definitely explore the rest of Pálmason’s filmography (finally).

Thought I’d revisit Hlynur Pálmason after watching Train Dreams, so instead of rewatching Godland 2022 I thought I’d go for the first feature of Pálmason’s. Vinterbrødre (Winter Brothers) is a spectacularly gorgeous film, shot on crisp 16mm film and set in the stark, textured landscape of a Danish mining company, this film is absolutely stunning. Maria Von Hausswolff’s cinematography is superbly stylish, those static shots and her impeccable understanding of composition is incredible. Storywise this was a pretty substantial piece, filled with some slightly absurdist elements and some very interesting ideas, it was something quite different to Godland. I did really enjoy the strangeness of it, it felt very raw and exciting, the eerie electronic score really added onto this experience. A very great film, will definitely explore the rest of Pálmason’s filmography (finally).

Very fuckin eerie and unsettling and completely the opposite of the vibe I’m getting from The Love that Remains so consider me intrigued.

Very fuckin eerie and unsettling and completely the opposite of the vibe I’m getting from The Love that Remains so consider me intrigued.

Most cinematic dick shot award

Most cinematic dick shot award

Most cinematic dick shot award

Most cinematic dick shot award