Tue. Jul 16th, 2019

The woman of the mountain: Activism with soundtrack | Culture

The woman of the mountain: Activism with soundtrack | Culture



A decision out of norm, unusual and brave, risky and scurrilous, can literally eat a movie, or at least the story that is intended to count within it, or, instead, save it from mediocrity, from immediate oblivion, thanks to a resource half way between the form and the tone that ends up encompassing an artistic spirit.

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THE WOMAN OF THE MOUNTAIN

Address: Benedikt Erlingsson.

Interpreters: Halldóra Geirharosdóttir, Jóhann Siguroarson, Juan Camilo Román Estrada.

Gender: Social. Iceland, 2018

Duration: 101 minutes

In The woman of the mountain, Icelandic third film Benedikt Erlingsson, a fable of social activism that degenerates into ecological terrorism, this tactic of demolition, that narrative daring, resides in a constant destruction of the fourth wall: the soundtrack, dissonant cut and bizarre nuances, is made flesh inside the plane with the presence of the musicians who play it and their instruments (varied percussion, mainly a box, besides a tuba and an accordion), behind or in front of their main character and their secondary ones, like a Greek choir that , instead of reciting lyrical passages about the context of the story, it expels notes forming a unifying style. And the style, in this way, mutates with its almost constant presence, along with that of a chorus of traditional Ukrainian music, until turning the film into an unclassifiable social musical, tender and singular.

With echoes of the gypsy bands of Emir Kusturica, especially Black cat, white cat, where the musicians accompanied the adventures of the characters, but to the beast, with much greater presence, Erlingsson exploits the resource from start to finish in a work that, anyway, is turning in its genre, much more interesting when circulating around the social tragicomedy that when drifting towards the adventure of survival.

Like in Of horses and men (2013), his debut feature, an absurdity close to the works of Roy Andersson, dominates a set of strong symbolic roots, where his heroine continues to be an Artemis of the new millennium, goddess of hunting, nature and wild animals , turned into agitator for its defense of the ecosystem. But without his three background musicians and, above all, without the soundtrack of David Thor Jonsson, The woman of the mountain it would only be a European social film more, and not the happy extravagance that it finally is.

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