Cannes hátíðinni er lokið og uppgjör helstu fagmiðla liggja fyrir. Hollywood Reporter segir mynd Benedikts Erlingssonar, Kona fer í stríð, vera meðal áhugaverðustu mynda hátíðarinnar og bæði Variety og Indiewire setja Arctic á lista sína yfir helstu myndirnar á Cannes þetta árið.
Í umsögn Hollywood Reporter segir meðal annars:
Icelandic auteur Benedikt Erlingsson’s second feature (following Of Horses and Men) is a very skillfully crafted and surreally told story of an ecological „terrorist“ who sabotages her country’s power grid in order to preserve its breathtaking landscapes. With emotional depth, exquisite visuals and sharp, timely political undertones, the movie starts off on rather playful footing but gradually builds into something more thrilling, and moving, as our heroine goes on the run. — J.M.
Variety hefur þetta að segja um Arctic í umsögn sinni um helstu myndir hátíðarinnar:
A quiet and captivating slow-build adventure film, starring Mads Mikkelsen as a researcher-explorer who has crash-landed in the frozen wilderness. It’s the first feature directed by Joe Penna, the Brazilian video auteur who became a sensation on YouTube, so you might expect it to be made with a touch of 21st-century flash. On the contrary, Penna tells this solo-survival story with an austerity that makes it feel, at times, like you’re seeing an ice-cap remake of “A Man Escaped.” There are no cut corners, no overly obvious only-in-the-movies gambits. This stranded man has little to rely on beyond his will, so we feel at every step that he could be us. The film is built around the gruff mystique of Mikkelsen, whose acting, like the filmmaking, never betrays a hint of showiness. His height and stalwart presence fill the frame, but his face looks inward and outward at the same time; it’s tense, focused, ravaged. The movie, in its rough-hewn, trudging-through-the-tundra, one-step-at-a-time way, is the anti-“Cast Away,” and that’s what’s good and, finally, moving about it. — OG
Og Indiewire segir þetta um sömu mynd:
This may be a low bar to clear, but Joe Penna’s directorial feature debut is one of the best movies ever made about a man stranded in the wilderness. Mads Mikkelsen, throwing himself into an Iceland shoot that could probably have made for a compelling survival story unto itself, gives a career-best performance as a downed pilot named Overgård. We join his nearly wordless ordeal at some point after his plane has crashed into a deep white valley in the middle of nowhere. At first, it seems like a familiar setup, but the cast soon doubles in size when Overgård is forced to care for the helicopter pilot who crashes while trying to rescue him. Maybe there are some places where people just aren’t supposed to fly.
“Arctic” is such an involving experience because Penna finds ways to infuse real drama into potentially mundane details; we always know where the characters are and what’s at stake with each step, so that watching Mikkelsen turn a sled into a makeshift shelter achieves the excitement of a major setpiece. It’s broad stuff, and well-trod terrain for a movie that takes place in uncharted territory, but it cuts straight to the difference between endurance and survival. Movies like this are typically only exciting because the hero might die. “Arctic” is so compelling because Overgård might not. —DE
