Watching Icelandic director Hlynur Palmason’s “A White, White Day” taught me an important lesson about the way suspense works in “slow cinema” — a term that describes deliberately paced, take-their-time narratives that aren’t necessarily preoccupied with action, quick cutting and the looming sense of imminent conflict. Just because a film forgoes these techniques doesn’t mean it’s not gripping, or engaging in its own way, although the tension works differently on our psyche.
This agonizing first scene runs for nearly two minutes. Just 98 seconds actually, but it feels like forever. How are our brains meant to process it? We never meet the character behind the wheel, never see her face. Our minds could be excused for drifting, and also for wanting something to occur.
As demonstrated by his striking feature debut, 2017’s “Winter Brothers,” Palmason has a visual language and a relationship to time all his own.
Any husband might be curious, but Ingimundur is a cop, and he starts to investigate. He calls, then later stalks the man he suspects of cuckolding him . All of a sudden, we seem to have arrived inside a more familiar movie: a story of jealousy and rage, about a grieving man desperate to regain some control over a tragedy he could not prevent, pushed to potentially violent extremes.
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