Filled with the brutal wonder of nature – both topographical and psychological – Hlynur Pálmason’s impressive period drama “Godland” drops us into the harshly beautiful terrain of Iceland for an austerely mesmerizing tale of mad conceit and errant conquest in the late nineteenth century.
A sumptuous travelogue it is not; a visually stunning, soul-clenching examination of the curious push/pull between humans and the environment it most certainly is.With its landscape of volcanos, lowlands, and ice, and hubristic treks marked by doomed clashes and solemn grace, “Godland” – its majestic Academy-ratio cinematography ideally maximized if seen in a theater – is the kind of bold work about which one could imagine Werner Herzog, upon viewing, feeling very seen.
And yet with his third feature, Pálmason’s stylized mix of viscerality and mystery is decidedly his own, heralding a talent fully aware of how to achieve ambitious storytelling with memorable execution.Our protagonist Lucas (Elliott Crosset Hove) is a young Danish priest tasked with establishing a church in a remote village on the southeastern coast of Iceland, then under Denmark’s rule.
Of his mission, he’s warned by his superior that he’d better learn how to adapt to the island’s unforgiving extremes of weather, land, and personality.
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