WOMAN AT WAR (KONA FER Í STRÍÐ)At MAMI 2018

WOMAN AT WAR (KONA FER Í STRÍÐ) At MAMI 2018

I am associated with MAMI right from its inception, initially it was very informal event for film buffs in Bombay who wanted to peep into the films beyond Hollywood and Bollywood. The Festival struggled a lot due to financial limitations, we at Freelance Film Journalists Combine used to publish daily bulletin of Festival. The Festival is now corporatized, JIO is  now attached before its name. And of course, present day organizers have conveniently forgotten those who made MAMI a happening event.

But today I just want to talk about a wonderful movie shown this year at MAWoman At War.  Its director is Benedikt Erlingsson, he is from Iceland. He proves his potential yet with a joyful, inventive, energetic, environmental and feminist  feature film. Perfectly employing his country's natural setting, Benedikt shapes a breathless, physical and brilliantly-structured film, in which drones and sheep cross paths in the wake of its protagonist, ultra-determined in the defense of her ideal. Both a message and a call to civil resistance in order save nature from industrial greed, ‘Woman at War’ does not bother with psychological quibbles, but instead gets straight to the point by dramatizing its purpose with a trio of musicians who accompany the action as it unfolds. A small stylistic coquetry which, despite not being annoying, could have been a tad more limited, but does not, however, detract from this pleasing film’s very positive impact, both in terms of content and form.

Story starts in a picturesque town of Iceland, here Halla (Halldóra Geirharðsdóttir) is a popular 49-year-old choir director, her sun-filled smile warming everyone she meets. In the countryside, she’s what the press have nicknamed ‘Mountain Woman,’ an anonymous figure using a potent bow and arrow to bring down power lines in a one-woman crusade against heavy industry which is a threat to the environment. The only one who knows her identity is Baldvin (Jörundur Ragnarsson), a chorus member and official in the ministry who’s been helping out with information but is getting extra nervous as the government backlash grows now that the Chinese are reconsidering their investment in Iceland.

It’s just now that a letter arrives telling Halla that her application for adopting a child from Ukraine has been accepted, and while it’s not an ideal moment, she’s overjoyed that her dreams of motherhood will finally be realized. Identical twin sister Ása (also played by Geirharðsdóttir) is delighted for her sibling, though she’s just agreed to join an ashram in India for two years. Pairing these two together seems like such an obvious script gimmick, yet apart from the eternally amusing conceit of identical twin sisters on film, the yin-and-yang works perfectly: Both idealists, Halla looks to save the world, while Ása looks for inner fulfillment.

After Halla drops leaflets around town declaring her environmental motivations, the government begins a spin war to win public opinion, unleashing commentators on the media while increasing the manhunt. Worth singling out among many marvelous sequences is a scene when Halla walks down the street, glimpsing TVs through one window after another, all of them blaring official propaganda that then melds into chatter-like music as she quickens her pace, becoming all the more determined to take a final stand against industry before heading to Ukraine and picking up her adopted daughter. Helping her escape capture is sheep farmer Sveinbjörn (Jóhann Sigurðarson), a classically Icelandic character whose gruff exterior can’t disguise his compassionate nature.

Thematically, “Woman at War” sounds so easy: a righteous topic, a sense of solidarity for the things that count, a satisfying stand by one woman against the powerful forces of industry. Erlingsson’s genius lies in how he puts it all together with such witty intelligence, arranging beautifully shot picaresque episodes around a central figure who lives the ideals of the heroes she has hanging on her wall, Mahatma Gandhi and Nelson Mandela. The adoption subtheme is a crucial element in it all, as it concretizes her role as mother and caretaker, one small country, one small child at a time.

Grounding everything is Geirharðsdóttir’s splendid performance(s), fleshing out Halla’s character as a grassroots Robin Hood with warmth and quiet determination. Juan Camillo Roman Estrada makes a welcome comeback from ‘Of Horses and Men’ as a luckless Spanish-speaking tourist whose foreign-ness makes him an instant target of police suspicion in the insular Icelandic countryside. All three musicians, playing piano, accordion, trumpet, tuba and percussion, contrast detached yet supportive glances with an almost organic presence in each of their scenes, while the Ukrainian singing trio, on the one hand out of place, lend a sense of global cohesion with their distinctive harmonies.

As he did with Erlingsson’s previous feature, Bergsteinn Björgúlfsson again proves himself a master of capturing the tranquil beauty of the Icelandic landscape, ultra-sensitive to lighting (color grading is also superb) and the joys of the unexpected. When Sveinbjörn gently immerses Halla in a hot spring, shown from above on camera, it’s hard not to have a similar feeling of relief, and when she lies her face down in the flowering undergrowth, we enjoy a similar connection to nature. Sound design is simply superb.

There are a few standout scenes in War's closing sequence, as well as a few cleverly executed twists, yet Erlingsson doesn't let them undercut the movie's emotional sway. Halla's antics may seem a bit foolhardy, and her tree-hugging (or Earth-hugging in this case) a bit crazy, but the woman's willingness to sacrifice her happiness for what she believes is a valuable cause is both admirable and ultimately touching. A final sequence set in the Ukraine further pushes the film's environmentalist stance, revealing what happens to a nation when factories run rampant and industrialism winds up destroying the local ecosystem.

Alongside the stunning camerawork and eclectic onscreen music — the latter a mix of accordion, piano and choral numbers performed by a cast of recurring characters — editing by David Alexander Corno keeps a steady pace but allows room for moments of deadpan humor and visual bliss.

There are a few standout scenes in War's closing reels, as well as a few cleverly executed twists, yet Erlingsson doesn't let them undercut the movie's emotional sway. Halla's antics may seem a bit foolhardy, and her tree-hugging (or Earth-hugging in this case) a bit crazy, but the woman's willingness to sacrifice her happiness for what she believes is a valuable cause is both admirable and ultimately touching. A final sequence set in the Ukraine further pushes the film's environmentalist stance, revealing what happens to a nation when factories run rampant and industrialism winds up destroying the local ecosystem.

Alongside the stunning camerawork and eclectic onscreen music — the latter a mix of accordion, piano and choral numbers performed by a cast of recurring characters — editing by David Alexander Corno keeps a steady pace but allows room for moments of deadpan humor and visual bliss.

Cast & CREW:

Director: Benedikt Erlingsson. Screenplay: Erlingsson, Ólafur Egill Egilsson. Camera (color, widescreen): Bergsteinn Björgúlfsson. Editor: Davíð Alexander Corno. Music: Davíð Þór Jónsson.

Cast: Halldora Geirharosdottir, David Thor Jonsson, Magnus Trygvason Eliasen, Omar Guojonsson, Johann Siguroarson, Juan Camillo Roman Estrada, Jorundur Ragnarsson