Iceland review - 2015, Blaðsíða 12

10 ICELAND REVIEW
OF SHEEP AND MEN
Feature film Hrútar (Rams) by Icelandic director Grímur Hákonarson premiered at the
Cannes Film Festival in May, winning its creators the Prix Un Certain Regard prize for
up-and-coming filmmakers.
The basic premise of the film is the effect a scrapie infestation has on sheep farmers
in the rural community of Bárðardalur, North Iceland, and in particular, on the strained
relationship between two brothers: Gummi (Sigurður Sigurjónsson) and Kiddi (Theodór
Júlíusson). They and the valley’s other sheep farmers are forced to decide whether they
will wait it out, turn to other kinds of farming, or abandon their agrarian lifestyle for
the big city.
Hrútar is typical of Icelandic films in that it isn’t constructed so much around a plot
line but focuses more on the characters, making it in many ways like a clip from some-
one’s life. BY EMILÍA S. ÓLAFSDÓTTIR KAABER.
Our critics take a look at three recent Icelandic releases: award-winning feature film Hrútar;
the book Icelandic Trade with Gyrfalcons; and the awaited sophomore album
by Of Monsters and Men, Beneath The Skin.
REVIEWS
A SOUVENIR FOR A KING
In medieval times, the ‘Land of Fire and Ice’ was known throughout the world as the
mysterious homeland of the fabled bird of prey, the gyrfalcon—the largest of all falcons.
Praised by noble hunters as their most desirable gift, it had put Iceland on the map and
for centuries was an integral part of the country’s economy.
The story of the precious raptor was recently published by ethnozoologist Sigurður
Ægisson in his new book Icelandic Trade with Gyrfalcons: from Medieval Times to the Modern
Era. Falconry largely became a thing of the past when guns were invented during the
Industrial Revolution; becoming some sort of wealthy man’s caprice.
For 45 years the bird, which ceased to bring sufficient profits to the island, suffered a
severe extermination program, endorsed by law, and would have completely vanished if
not for the status of ‘protected species’ that it finally obtained in 1930. Thanks to this,
today one might still spot a gyrfalcon in the north of Iceland. BY IAROSLAVA KUTSAI.
MONSTERS GROWING UP
With their debut album, My Head Is An Animal, Of Monsters and Men rode the indie-
folk wave. It was a hugely successful ploy, and promoted the band to the status of stadi-
um-filling, festival favorite, multi-platinum selling machine. For their second album, it
would have been easy for the band to get lost in this maelstrom of success and stick to
their well-trodden formula. Thankfully, they haven’t. Beneath The Skin is a much more
mature offering, still reliant on the partnership of Nanna Bryndís Hilmarsdóttir and
Ragnar Þórhallsson.
There isn’t a ‘Little Talks’ here, and it’s none the poorer for it. ‘Crystals’ is all powerful
drums and a showcase for Nanna’s fragile yet emotional voice. ‘Organs’ is one of the
album’s gentler, more intimate highlights.
It’s an accomplished album which benefits from repeated listening. It seems Of
Monsters and Men haven’t lost any of their allure. BY EDWARD HANCOX.
CULTURAL CURIOSITIES