Films of the Year 2013

After a slow start to the year with plenty of Hollywood drool, it’s turned out to be a truly impressive and diverse year for cinema. The summer had a couple of surprisingly good blockbusters (The Great Gatsby, Fast & Furious 6) alongside some nail-bitingly awful comedies (The Big Wedding, Movie 43, Identity Thief). Though, the fall has certainly been packed full of brilliant dramas (Prisoners, Captain Phillips, Blue Jasmine). There has also been plenty of indie flicks giving the industry a shove (always good news) – Fruitvale Station, The Selfish Giant. But, without further ado, here are my top 5 film picks from 2013 (bearing in mind there are still some eagerly awaiting titles on my watch-list):

Top 5 (in ranked order):

5. Blue Jasmine


My number 5 spot goes to Woody Allen’s Blue Jasmine. It is a beautiful and entertaining film with a sterling performance from Cate Blanchet. It left me with earnest emotions for Blanchet’s character and wanting to revisit the remarkably well-told story. Woody Allen is showcasing his impeccable ability to tell relationship driven stories with true heartfelt prosperity. Read a full review here.

4. Big Bad Wolves


This film from Israel has wowed the festival audiences this year with its reckless ability to tell a black comedy and leave your head hanging upside-down. There are scenes of sheer horror blended with whimsical and innovative storytelling. The film is beautifully crafted and an absolute bag of fun for all genre fans. Read a full review here.

3. Rush


Rush was the biggest surprise of the year for me. I was dragged along to see it and was left dazzled by the cinematic virtuosity and desperate to discover more about this great rivalry between two formula one legends. Admitted, I still care little for formula one, but I do love a great story, which this is. Whether this film is entirely accurate or not is besides the point, I thoroughly enjoyed it. Read a full review here.

2. Django Unchained


Though it came out before the awards season, I still count this film as a 2013 release (because it is).

As a die-hard Tarantino fan I’d never been more excited upon entering the cinema, but at the same time I was terrified of being let down. Django Unchained excelled. I’ve never been a great fan of Westerns, but boy do I love a Tarantino Western! One can blabber on about how he rips of all the great stylistic filmmakers (Woo, Leone, Melville etc), but Tarantino’s work is fresher than ever. All filmmakers blend film history, Tarantino just does so well that people are more perceptible to it. It is the stories that count though, and they are absolutely unique – Django is no exception. The Tarantino style, which we expect, is there in true spirit, but it doesn’t get in the way of telling a great story.

During the film I was grinning with delight at its splendour whilst my eyes were constantly bulging with excitement. I can’t wait for the next treat Tarantino puts on our plate! A close shave from my number one spot.

1. Blue is the Warmest Colour


My controversial number one! We film folk have always had a sweet spot for controversial films. It’s affirmative, this years Cannes Palme D’or winner left me starstruck. Abdellatif Kechiche’s direction is unadulterated yet striking, the performances from Léa Seydoux and Adèle Exarchopoulosare are simply astonishing, their relationship is beautiful and genuine and the film comes together as this year’s masterpiece. Voila! Read a full review here.

Films that nearly made a mark in my top 5:

Captain Phillips trailer launch - video

Captain Phillips – a championing true story of a captain’s cargo ship being hijacked by Somali pirates in the Indian Ocean. It’s a thrilling ride. Review.

Prisoners – this years chilling thriller of two girls who mysteriously go missing. Review.

About Time – my soft spot of the year. Richard Curtis sheds more screen delight. Review.

Saving Mr. Banks – a brilliantly told story of Miss Travis’s relationship with Walt Disney over the rights to producing Marry Poppins.

The Great Gatsby – a remarkable adaptation of Scott Fitzgerald’s novel that lives up to and adheres all previous attempts.

Stoker – despite criticism, it was chilling and full of the Park Chan-Wook aesthetic that we have come to love so dearly.

Les Miserables – it was just fantastic.

Lincoln – Spielberg’s ability to tell epic stories is just beside me.

Top 5 films to catch-up on (from preconception, they may well find a space in my top 5):


The act of Killing – I’ve heard remarkably ruthless things about this documentary. I can’t wait.

Short Term 12 – I’m hoping for a little gem.

Nebraska – Alexander Payne is exceptional and his road movies are no exception. This should be a wonderful journey.

Inside Llewyn Davis – Lovingly prepared for another great Coen Brothers film.

Behind the Candelabra – Matt Damon falling in love with Michael Douglas simply cannot be missed.

Top 5 let downs:


Oldboy – oh so sour…

Diana – rubbish, pointless, disgraceful…

Mama – it’s not been a good year for Guillermo del Toro…

After Earth – M. Night Shyamalan simply makes me want to cry…

Side Effects – I was pumped up for something far better from the Soderbergh…

There you have it. These lists may get updated over the next few months, but I can assure you, no matter how great people say it is, Gravity will not see the light of my top 5.

Now, for good measure, I wish to leave you with some wise words from the man of wonderfully cynical criticism; Mark Kermode reveals his worst 10 movies of 2013:

The Limelight Index: Robin Schmidt – Writer/Director

Robin Schmidt headshot

Robin Schmidt is a highly prolific London based filmmaker. He’s directed plenty of things from extreme sports to music videos. However, the director talks to me about his step into directing drama and recently wrapping on his first feature film. Robin was also recently named ‘One to Watch’ by MovieScope Magazine.

Robin has some very interesting and explosive ideas and opinions to give about the film industry, so be sure to read on and comment below.

When did you first get into filmmaking?

I fell into filmmaking; it was never my original intention to become a filmmaker. When I grew up I used to play piano and sing a lot, this was what my parents invested a lot of time in. Film was what other people did. After leaving university, I got into the idea of become a TV presenter which I pursued for a while, but this never quite pulled off. I ended up getting a job with my brother in a marketing consultancy and happened across doing some market research. They put me in charge of their camera and let me have a go editing the thing on the first version of Final cut pro – when iMacs had just come about. As it turned out, I ended up getting interest in this and eventually wanted to do my own TV commercial projects, still with the idea of becoming a presenter.

I ended up making a ski film with a couple of guys who became the trio of our production company in 2002. From here, I just taught myself and knuckled down in London making videos for clients.

It’s a lot easier now to deliver good results of the back of little money. However, back when we were doing it to get a product that looked good and maintain the appearance of being professional was very difficult. So, we learnt a lot, made a lot of mistakes, but built ourselves a decent business around producing videos for extreme sports and more recently, music videos.

You’ve done a lot of commercial work, but when did fiction and storytelling really draw you?

It’s always been there. I look back at our early stuff and we were always informed by the desire to make our stuff feel like film. I think everyone has this desire when they start out; cinema inspires them.

The harsh reality of filmmaking is that you either do the LA thing and you struggle through networking out there from the bottom up, or you go your own route and make a day-to-day business. Unfortunately, you have to make something that you can sell, which means keeping professional. But, in my mind, creativity is boundless; there should be no bounds. So basically, the course of working as a professional, is working out what projects deserve your utmost attention and only giving your time were it is necessary. However, at the top level of filmmaking, this attitude shouldn’t be a consideration. To me, this spirit has been muted by the needs of running a company and being a professional.

In 2009, I left my company to become a freelance professional and started successfully blogging (visit Robin’s blog here). This coincided with the craze of DSLR filmmaking, which really got me excited and enthusiastic again. The result of this was getting excited about work everyday and moving into creating narrative fiction in such a way that I could build a career of it.

Do you still shoot on DSLRs?

I don’t shoot anything on a DSLR now. I used to for about a year and a half, but they’re a bit of a pain in the ass for anything that isn’t a weekend passion job. I wanted a proper movie camera and got an FS100. But, I hate DSLR’s now.

I came across your interesting article on ‘nofilmschool’ about proposing a new distribution model for short films. Could you expand on that idea a bit here?

Basically there are a few things going on. I think that filmmaking is at a crossroads right now because you here debates about whether studios are investing their money in the right kind of projects, whether the business side of film is suffering the creativity. For example, even filmmakers like Martin Scorsese are struggling to get their projects of the ground, which is a great shame. We know these guys at the top of their game aren’t going to mess around. Who’s going to say no to wanting to see Scorsese’s new film? The problem is that this filters down to the likes of us younger ones trying to build our careers, where do I sit amongst all this?


I’m currently in the weird transitional stage where I’ve made my first feature film, so I’m there, but really I’m not there at all. Ultimately we want bigger budgets to get our projects of the ground, which is becoming harder and harder to happen. Where I was heading with the article, was basically to approach the health of the ladder for emerging filmmakers to promising filmmaker to establishing filmmaker. I also approach why short filmmaking content is no longer of any interest to people. We all know that there are more short films getting made than ever before, but there’s so much stuff out there that it seems very difficult for people to get seen. I want to re-spin the idea so that it benefits everyone. There’s also a notion of a selfish audience that no one really talks about. You here things like, know your audience and speak to your audience all the time, but frankly, no one knows what it really means.

There’s a lot of chat surrounding filmmaking in general, most of it is rubbish and there to sell workshops. People don’t know their audience or understand what they really want.

It’s surely hard to predict exactly what someone wants to see; you can’t really know what goes on in the mind of who watches your film?

I don’t think that’s true at all; I believe it is absolutely possible. When you watch your own film you are the audience. I have my own theories on this, but in terms of screenwriting, you won’t hear any screenwriting books talk about the viewer. They’ll talk about character arcs and everything else, but to me all of this subsides to your viewer’s journey, their arc. I find it baffling; the person who views your end product is most important.

So, at the moment, my overriding obsession is about the journey of the viewer through my story. How can I manage that process? In doing so, I can get to know my audience. I come from a marketing background where we do an incredible amount of work understanding what our consumer needs and their experiences, yet as filmmakers we never seem to talk about that.

My argument for the narrative short film distribution was basically to try and see if you could revalue short film as an extension of the artist; the filmmaker as the artist. It needs to be raised above the morass of other short film content that’s out there.

There would an interesting dynamic at play if the guys with the money could invest in statistics of a filmmaker’s trend, which would be made more accessible by respecting short films. It’s a complex and difficult subject, but the overall idea was to try and map the structure from the art world onto the film world.

Everyone keeps talking about the same model or mode of transaction, I create, you buy, done. This is so out molded and inappropriate for short film content, I thought maybe there was another way to look at it. Read the article here.

Would you say that a lot of people are now jumping straight into making features because of this dilemma?

I can’t dictate what someone should do, I mean if they want to make a feature, then let them. Having been through this process, there are quite a few harsh realities that need to be taken on board. You can make a feature film for £1.50. It’s possible, but whether it’s any good or not is another thing.

The question is: what are you going to do once you’ve made it? The thing with a feature film is that it’s a commercial property, a piece of business. If you’re going to make a feature as a learning process, then I’d suggest just making a short film. The pain and sheer buggery of making a feature film is such that you need there to be a pay off at the end. Producing a feature film is incredibly difficult. Getting all your ducks in a row with no money is a great challenge.

I commend people who jump straight into features, but you are best served doing your learning in short form.

I’ve doing something a bit silly which is made a 40-minute short film.

Not marketable?

Yeah it has no commercial value at all. It falls right in the middle. However, I have a different plan for it, for me it’s about exposure and putting a different idea down.

Can you tell us a bit more about your feature film After Death?

Basically, the film is a take on the horror genre, put a group of kids in a room ad chop them up. However, it’s done in our own way, which is basically to say that everyone is actually dead before the film even starts. You wake up in hell, what are you going to do? There’s plenty of ideas and philosophy floating around.

We assembled an entire cast of woman, we shot it in 12 days, low budget, and it was a lot of fun! It’s very much a calling card film. I’m realistic and know that I’ll need to make a second film to be successful.


Would you say it’s better to have multiple projects on the go, or just to focus on one?

I don’t know. I do a lot of different stuff: my writing partner and I write for a successful comedy channel. However, what I like to focus on mostly is narrative drama. It’s the most challenging and fun, there’s so much to learn and so many great people. It can be a fantastic job when you let it be. I love it.

Can you sum up why you love filmmaking?

There are lots of things that make it up. Firstly, it’s a great ego trip, I won’t lie. There’s always a buzz about being on set. I also enjoy it because I’m good at it, because it’s demanding, challenging and gets the best out of me. More than anything else, I enjoy it because, at the heart of it, I love film and the opportunity to give other people the great experience they get when watching a film, to me that’s everything.

What advice would you give to filmmakers starting out?

I would say a few things. One is, find a mentor. There’s so much information out there you can access, so many great people to hook up with who are at your level. But, find someone who is much better than you and use him or her as a sounding board for what you want to do, in a polite manor of course. It’s so easy to get lost and not get any feedback, so find someone who is going to be honest with you when it sucks. Too many people, say “oh yeah it’s great.” I have a few people that I mentor right now, and care passionately about giving them good feedback on what they do.

When I was growing up and doing lots of stuff, I would’ve loved someone to say why don’t you just try this? This is knowledge that you won’t get from blogs; you get it from experience by going and doing it.

My second piece of advice is taking your time. Filmmaking is something that takes time. There are no shortcuts, and if you do try and take one, you will most likely get chewed up and spat out. It’s so rare for people to come in early, young and succeed.

My third piece of advice is probably to draw on influences that aren’t necessarily film. Go and see contemporary dance, go to art shows, whatever. There’s so much exposure to TV and film, but you want to be open to other art forms and you can draw influence from these areas. I particularly find stage and theatre work fascinating. So, take a step back and look at other stuff from time to time.

Thanks for your time Robin. 

Watch the trailer for After Death below:

Or, check out this hilarious short film directed by Robin:

Fluidity Before Sunrise


Happy holidays everyone!

Once again, I haven’t made it to the movies this week, but there are plenty of great titles out that I’d recommend seeing: All is Lost, The Wolf of Wool Street, American Hustle, Nebraska and Saving Mr. Banks.

This week has been rather beautiful for home viewing though, I say this because I watched Richard Linklater’s Before Sunrise closely followed by Before Sunset. If you watch one after the after you will be left throthing with emotion and be in awe of the inborn love and delicate romance on screen.

In fact, the premise of Before Sunrise sounds utterly pants and cheesy – two individuals from other ends of the earth fall in love at first sight on their travels and have a minimal amount of time to spend together before heading back to their homeland. Yet, Linklater, with the help of Ethan Hawke and Julie Delpy’s alluring and natural performances, pulls off the contrary; the film is highly engaging, fascinating and moving.

The film  shows off the longest and most fluid takes I think I’ve seen on film, with the couple wandering spontaneously along the streets of Vienna almost adjacent to real-time. Their topic of conversation is also very intellectual and philosophical raising key moralistic debates about relevant topics and approaching these with absolute confidence. Linklater himself says he “loved the way her mind worked – a constant stream of confident and intelligent ideas” in reference to the real woman he met, on whom Before Sunrise is based.

It is a beautiful film and a perfect catch for the Christmas season. Sit down with your loved one and get some tissues out the box.

Other good watches this week include Michael Hanake’s The Piano Teacher – an unusually in-depth character study of a middle-aged woman – and Ben Affleck’s directorial debut Gone Baby Gone – a classic Boston crime thriller with a slight edge. 

Watch the trailer for Before Sunrise below:

Gravity – It’s not as good as it should be…



Warner Bros. Esperanto Filmoj, US
91 Mins
Release UK: 7th November 2013

DIR Alfonso Cuarón
EXEC Stephen Jones, Nikki Penny, Christopher DeFaria
PROD Alfonso Cuarón, David Heyman
SCR Alfonso Cuarón, Jonás Cuarón
DP Emmanuel Lubezki
CAST Sandra Bullock, George Clooney

The title comment, for my rather sour review of 2013’s hailed cinematic triumph (one which is appearing at the top of numerous top 10 polls), is by no means a dig at the outstanding visual effects, it is rather a prod at all the critics who so fancy the movie and think it even performs as a genuinely intuitive movie. You may have guessed, I felt something was amiss watching this movie. It matched my expectations of the incomparable and expertly digitally rendered three-dimensional space, but not to my expectations of the movie as an entity.

I want to start with the casting of George Clooney as some coquettish and deceitful hero. Did anyone else snigger in his or her seats at Clooney’s whacky acts? I presume the woman in the audience rather gazed into his twinkling eyes looking out through the gargantuan and portentous space helmets. Sandra Bullock does give a worthy performance however. For the confines of her character and the thespian oriented production, she does remarkably well.

In regard to what Alfonso Cuaron set out to achieve: a realistic and daunting portrayal of what lies in great vastness above, congratulations. It is a drama, not a sci-fi film (space is real) set in space, yet the drama is simply one imprudent thing going wrong to the next. The entire film is chastised by downfall; it is effectively one simple act. For the brief period we do see Earth, it looks more like Jurassic Park anyway. How it would have made my day if Sandra Bullock had got run down by a giant Tyrannosaurus Rex upon landing on our beautiful Earth.

The incident that sparks off the vendetta is due to shrapnel in rapid orbit of the Earth from asteroids colliding with numerous space satellites, it sounds perfectly logical. The logic is soon exhausted however; it appears that as Bullock’s character gets to each new station, the station is still standing regardless of being positioned in the shrapnel’s orbit. It is no surprise then that when the shrapnel comes back around for more it decides that this time it will take the station with it. How unlucky.

I don’t wish to comment any further on this film, it is a cinematic extravaganza indeed, but it is not a great film. Extravaganzas have existed adequately prior to Gravity, just not in space and not in the same foreboding tense. The film is not as good as everyone says it is and it certainly doesn’t deserve an Oscar for best picture (as many have argued), but by all means take home an Oscar for visual effects.

2.5 stars

Watch the trailer below:

The Limelight Index: Simon Wharf – Writer/Director


I encountered Simon’s (above) short film Pussy Cat at Leeds Film Festival and felt compelled to get in touch with the director and ask him a bit more about it and himself. The film is one the funniest dark humoured shorts I think I’ve ever seen – it had the whole audience at Leeds applauding wildly. Why? It’s simply a great, entertaining short. Here, Simon reveals some of the key ingredients to making a successful short film and getting started as a filmmaker.

When did you first get interested in filmmaking?

I grew up watching a lot of films with my two older brothers. They were six years older than me so I was exposed to a lot I shouldn’t have been! A lot of horror films and that kind of stuff, which kick-started my imagination. Me and my mate, Tom Hines used to get together every weekend and make short films, partly because we loved making them and partly because we hadn’t worked out how to talk to girls yet!

Tom has gone on to become a fantastic cinematographer and I’ve gone on to focus on my writing and directing. He was the cinematographer for Pussy Cat, my latest short film.

It must be nice to have such a great relationship with a cinematographer?

Definitely, cinematography is such an important and undervalued role. Few people remember who the cinematographer was on a film, yet it is such a massive input on the film. I recently went to a talk at Encounters film festival about cinematography, which was highly inspiring and enforced how important the cinematographer is on set. And Tom and me can talk very honestly about our vision, being such good friends.


Who are your influences?

I think Michael Haneke and Roman Polanski are brilliant filmmakers, The Coen Brothers were also a significant influence, in particular Fargo influenced Pussy Cat, in terms of the lead character being a forlorn introvert and hatching a plan that gets out of control. In terms of writing, I take a lot of inspiration from novelists. I love Franz Kafka, his novels The Castle and The Trial are major pieces that influence me. In some respects, I find it more interesting to take inspiration from non-filmic things. I find the longer process of reading a novel more inspirational and likely to spark off ideas in my mind.

Where did the idea initially come from for ‘Pussy Cat’?

Well… my girlfriend and I do have a cat and there were occasions when we’d be alone in the bedroom and the rest speaks for itself! This was the main source for inspiration. A cat is often in control and everything is done on their terms, so you could say that I have first hand experience in what you see when watching the film!

The film got into a festival in Italy and they paid for me to stay over there. After the screening Italians were coming up to me and saying ‘‘I have a cat and this is exactly what it’s like!” So, I think the film is something a lot of people can relate to.

What inclined you to shoot the film in Polish?

When I first started writing the script, it felt right that the couple wouldn’t be English. This wasn’t a conscious decision initially; it just felt better for it. As the script developed I started to realize that the fact they are a Polish couple living in England adds to the isolation of the man, he doesn’t have anyone to turn to. Whereas the wife has integrated better into the country. There is also a fairy tale element to the film which fits perfectly with the Eastern European element. I also like the texture it adds to the film.


How did you find such a large cat for the shoot?

I initially made inquiries with agencies who hire out cat actors, but it was hugely expensive – in order to get a cat to do something on screen you need two handlers which would have cost £750 a day! So luckily, a guy who I worked with had a friend with a massive cat. I needed a great big male cat to be a masculine presence on the bed – the alpha male in the house. I was worried at first, as obviously the cat wouldn’t be trained and there was a scene where we took the cat out into the woods. So, if it ran off we would have been stuffed! But, fortunately, the cat was as good as gold; in fact, the cat was the easiest element to deal with throughout the filming!

How did you go about choosing the festivals to submit Pussy Cat too?

The initial screening was at Bath film festival who then passed it on to their affiliates like Norwich, Cornwall, Aesthetica and Colchester film festivals. Apart from these festivals, we just started researching others. Each festival has a brief about the feel of films they’re looking for, so we picked out those that were suitable for Pussy Cat. However, you always want to aim at the big ones too, so we always send our stuff to Leeds, Encounters, Sundance and a few others. But, you do need to keep selective, as film festivals can be expensive, on average around 40 pounds; after a while you begin to think: ‘hang on, I could be using this money to actually make something!’

Do you have any other projects you’re currently working on?

I have a short film script that I’m aiming to put into production in the New Year. I originally wrote the script as a feature film, but for now I see it working best as a short. However, one day I would love to make it into a feature.

When I wrote Pussy Cat I was also making a TV pilot, which I’m currently trying to get off the ground. To start with, I wasn’t seriously into short films. However, since Pussy Cat the medium has really grown on me, I’ve seen so many great shorts, and I’m keen to make more! Shorts are great fun. So, I want to make a really good short first from my feature script.

The script is another dark comedy, I won’t say too much more, but it’s basically about a boys love for his mother.


Why do you love filmmaking?

I naturally have ideas for writing; you could call me a bit of a dreamer. I spend most of my days slightly detached from what’s going on around me. I’ve been writing scripts for a relatively long time, so I’m able to put my ideas into script form fairly quickly. So, writing is probably my favourite thing. Though, I do love the whole filmmaking process, being on set is great, as is the editing. However, writing stands out to be as the most rewarding and important part of the process.

Ultimately, filmmaking is just good fun! It would be my dream to be able to make films for a living. Everyone wants to get paid for doing what he or she loves.

Do you have advice for anyone starting out with filmmaking?  

I would say that the most important thing is to start with a good script. It doesn’t have to be full of dialogue, quite the opposite actually; visual scripts are often the best. Secondly, you need to have good actors. A lot of people start out using friends and aren’t actually aware that it is possible to get in touch with professional actors. Actors, if they love the script, will work for a small budget, if not for free. Also, remember to rehearse with your actors. It’s easy to get caught up in the technical side of things but the interaction of the characters on screen is the most important thing; it’s ultimately what makes a film. So, first of all, get those two things nailed!

Finally, what makes a great short film?

It’s a difficult question because there are so many types of short films. Some are very artsy and abstract, which is cool, but they can be quickly forgotten. Your basically looking for something that stands out.

I went to the short film corner at Cannes, which I’d recommend for any short filmmaker, and saw so many brilliant shorts; it made me realize how much great stuff is being made. So, the only real advice is that you have to make it as great as you can make it; it has to stand out and be exceptional. There are a lot of good short films out there, there’s a lot of shite ones too, so make something amazing.

Watch the trailer for Pussy Cat below:

Solemn Bravery – The Deep


This week, I’ve tried to catch up on some films from around the world, which included Iceland’s Oscar entry The Deep.

The film was released in UK cinemas back in Summer of this year after being picked up by Metrodome distribution last year. The director, Baltasar Kormakur, has since go on to direct pictures in Hollywood, including this years 2 Guns starring Denzel Washington and Mark Wahlberg, and Everest, a film currently in production for 2014 starring Jake Gyllenhaal and Josh Brolin. Anyway, The Deep is a fantastic film that depicts a true story of an Icelandic fishermen who survives over 6 hours in the freezing North Atlantic Ocean waters. It is a Perfect Storm set-up, a crew of firsherman go out in the big sea and their boat capsizes (in this case, the incident is for a slightly different and more naive reason). This event surprisingly happens within the first thirty minutes of the movie, what story could be left to tell?

It is an intriguing one and well constructed despite common critique. Gulli, our protagonist, is a solemn but brave character and he is convincingly played by Ólafur Darri Ólafsson. There is a profound subtelty to his psychology, his remorse in not explored in depth, but is nonetheless apparent. He isn’t interested in the miracle his body has performed, or the press interest gained by it. He is a local Icelandic fishermen, born and bred, and that is his wish. A rather comforting scene, is when Gulli visits a recent widow of the incident to tell her that her husband had a peaceful and painless death.

This film is a great undertaking by the Icelandic film industry and it has surpassed the epic sea adventure that is expected, it has become a far greater and globally figured film of love, loss, loneliness, omnipresence and myth.

Watch the trailer below: