The Last Paradise On Earth

The Last Paradise On Earth (Scandinavian Film Festival)

The Last Paradise On Earth (Scandinavian Film Festival) Rating

ā˜…ā˜…ā˜…ā˜…ā˜…

Click if you liked this article

A lot of people say the grass is greener on the other side. But what if, despite everyone else turning their back to it and telling you to do the same, you were perfectly happy with the hue of your green.

The Scandinavian Film Festival is ready to set sail across Australia. And with it The Last Paradise On Earth, Directed by Sakaris StórÔ, glides in to dock.

This touching Danish drama film centres on KÔri (SÔmal H. Hansen), a kind and bashful young man, who calls the Faroe Islands home. On one of those remote islands he spends his quiet days working at the local fish factory and trying to connect with his sister, Silja (Bjørg B. Egholm), both of whom have been struggling since their mother passed away.

With the increasing pressure of the factory potentially closing and their father’s sudden leave for work on the sea, KĆ”ri must do what he can to keep his and Silja’s life afloat, all while discovering his own path forward.

The story is a hunt for belonging and finding a sense of self in hard times. Like many people these days, the doubt of if you are in the right place and doing what you should be doing with your life feels very relatable.

 

 

It seems that everyone in the village is either leaving the islands for a better, more exciting lifestyle, or incredulous that KĆ”ri isn’t. The constant force upon him becomes overbearing at times, and puts you right into his shoes of getting fed up with the repetitive questions, yet also second guessing his purpose in life.

The consistent pace of the film allows you to become familiar with the island’s day to day routine, as if you’re living the days along with them. But never feels monotonous as you see KĆ”ri becoming himself in the calming nature surrounding him, appearing comfortable only when out in the fresh elements and birdsong.

In the breathtaking setting of the Faroe Islands, it’s hard to think anything could stand out from the gorgeous mist ridden mountains and colourful Scandinavian houses – yet the emotions that echo through the land are a big takeaway from the film.

Both Hansen and Egholm bring a melancholic beauty to their characters, where you can be pulled into their emotions just from a glimpse into their eyes. Through their engaging portrayals you could easily be fooled into believing it’s their real lives and relationships you’re seeing on screen.

As you continue to watch KƔri and Silja piece together their identity and relationship with each other, even in spite of the remote location, the film charms you into feeling right at home with your own emotions. Because of that, the fresh island air of melancholy and delightful visuals make The Last Paradise On Earth a delicious Danish treat.

To book tickets to The Last Paradise On Earth (Scandinavian Film Festival) , please visit https://scandinavianfilmfestival.com/films/sca25-the-last-paradise-on-earth.

Spread the word on your favourite platform!

Quisling: The Final Days

Quisling: The Final Days (Scandinavian Film Festival)

Quisling: The Final Days (Scandinavian Film Festival) Rating

ā˜…ā˜…ā˜…ā˜…ā˜…

Click if you liked this article

1

Quisling: The Final Days is a haunting, masterfully crafted historical drama that dares to explore a dark and lesser-known chapter of World War II. Directed with striking restraint and visual elegance, the film paints a chilling, introspective portrait of Vidkun Quisling, the infamous Norwegian politician whose name has become synonymous with “traitor.” But rather than simply condemning him, the film digs deeper, offering a psychological excavation of a man who believed — to the bitter end — that he had acted for the good of his nation.

Set in the immediate aftermath of the war, the narrative is inspired by the diaries of Pastor Peder Olsen, who was appointed to Quisling as his spiritual advisor. The film lends itself to a character study rather than a courtroom drama, with many of the most potent scenes taking place in the conversations between the two men. This structure allows the audience to confront Quisling’s ideology firsthand — his justifications, delusions, and unwavering belief that he was Norway’s savior, not its betrayer.

The film excels in presenting moral ambiguity. Quisling is played with eerie conviction by Gard B. Eidsvold. He exudes an unsettling calm, articulating his decisions with intellectual precision and emotional detachment. It’s a performance that almost lulls the viewer into understanding, if not sympathizing with, his rationale. In Quisling’s mind, his collaboration with the Nazis was a strategic decision to preserve Norway and limit bloodshed. And for a time, the film lets us sit with that possibility.

 

 

But the genius of Quisling: The Final Days lies in how it slowly peels back the illusion. As evidence of atrocities committed under his regime surfaces — including a harrowing scene at a mass grave and a heart breaking first person account of the atrocities committed at Auschwitz — the viewer is confronted with the stark reality of what his appeasement truly meant. Even then, Quisling’s moral blinders remain fixed. His refusal to acknowledge the consequences of his actions is what finally breaks the spell the film so carefully constructs.

By the time the execution is carried out, Quisling still proclaims his innocence — and yet the audience no longer doubts his guilt. And yet, there lingers an unsettling question: how easily are we swayed by conviction, by rationalization, by charisma? Quisling: The Final Days doesn’t offer easy answers, but it leaves viewers with a powerful sense of introspection. The final, unspoken question resonates long after the credits roll: under the right circumstances, what might any of us justify?

This film is an essential watch for enthusiasts of historical cinema and psychological drama. Quisling: The Final Days is not just a film about a traitor; it’s a profound meditation on belief, guilt, and the dangerous clarity of self-righteousness.

To book tickets to Quisling: The Final Days (Scandinavian Film Festival), please visit https://scandinavianfilmfestival.com/films/sca25-quisling-the-final-days.

Spread the word on your favourite platform!

The Mountain – Fjalliư (Scandinavian Film Festival)

The Mountain (Scandinavian Film Festival) Rating

ā˜…ā˜…ā˜…ā˜…ā˜…

Click if you liked this article

Director and Screenwriter Ɓsthildur Kjartansdóttir’s third full length feature is about grief, dealing with loss, guilt and growth. Filmed in the sparse beauty of an Icelandic autumn, it is a cosmic journey that handles these themes with sombre grace in this excellent film well worth the audience’s engagement.

Set in the port town of Hafnarfjƶrưur, a town outside ReykjavĆ­k, Maria (Sólveig Guưmundsdóttir) an Astronomer, has planned a family trip to the highlands of Iceland to photograph what she hopes is a comet. When the weekend arrives however her husband Atli (Bjƶrn Hlynur Haraldsson), a one-time guitarist but now an Electrician stuck on a job with a client he despises, informs her that he has to work all weekend. Their nineteen-year-old daughter Anna (ƍsadóra Bjarkardóttir Barney), an aspiring Musician, also informs her mother that she can’t go because her band will be performing on the weekend. Maria travels by herself but has an unfortunate accident and dies, which triggers a path of grief and guilt for both Atli and Anna. It also starts them on other paths as they deal with her loss.

Bjƶrn Hlynur Haraldsson, probably best known in Australia for his role as PĆ©tur in the outstanding Lamb (2021) and as Dries in Northern Comfort (2023) shines in the role of Atli. Haraldsson’s portrayal of the grieving husband on a personal journey deftly depicts the wide range of emotion that Atli transverses in a very skilful manner.

 

 

The role of the daughter, Anna, is correspondingly exceptionally portrayed by ƍsadóra Bjarkardóttir Barney. The Mountain – Fjalliư marking her debut in a major film role, having previously played the minor role of Melkorka in The Northman (2022) (which also featured her actual mother, Musician/Actor, Bjƶrk, as Seeress, the blind sorceress). The scenes with Bjƶrn Hlynur Haraldsson outstandingly highlight the father and daughter relationship in crises.

The other roles of the mother, Maria, played by Sólveig Guưmundsdóttir, and Anna’s boyfriend KĆ”ri played by Vilberg Andri PĆ”lsson are also portrayed very well as are the other roles by all the cast. Cinematographer, Bergsteinn BjƶrgĆŗlfsson, takes full advantage of the light and shades of the Icelandic landscape. For the indoor scenes he impressively utilises outside natural light as a focus for the action of the scenes.

The Mountain – Fjalliư is the first officially vetted sustainable production in Iceland noted for ā€œmarking a significant milestone and contributing to the establishment of a standard for sustainability in the Icelandic film industryā€, and has been awarded the prestigious Green Film Sustainability certification.

Although only her third full length feature film, Ɓsthildur Kjartansdóttir is a veteran Director of Photography, Producer, Sound, Editor, Script Supervisor, Writer, and Producer, The Mountain – Fjalliư sees her at her peak power in this first-rate film. If the rest of the films in the Scandinavian Film Festival are of this standard, then it will be an outstanding Festival.

Reviewed by Rob McKinnon

Rating; 8 out of 10
Genre: Drama
YouTube trailer: https://scandinavianfilmfestival.com/films/sca25-the-mountain

To book tickets to this, or any films in the Scandinavian Film Festival, please visit https://scandinavianfilmfestival.com.

Spread the word on your favourite platform!

Small Sparkles and Little Pearls

Spanish Film Festival - Mugaritz. No Bread, No Dessert

Spanish Film Festival – Mugaritz. No Bread, No Dessert Rating

ā˜…ā˜…ā˜…ā˜…ā˜…

Click if you liked this article

Paco Plaza’s ā€œMugaritz: No Bread, No Dessertā€ is a poetic documentary that explores the inner workings of one of the world’s most inventive restaurants – Mugaritz. Led by chef Andoni Luis Aduriz, a self-proclaimed non-leader steering his energetic staff with generosity and ā€œstepping backā€, the restaurant closes from November to April each year to recreate its thematic menu. For 2025, the culinary concept is ā€œWhat Cannot Be Seenā€.

Plaza’s wobbly, handheld camera is distracting as it allows us to observe the detailed process of creation, trial and perfection through the eyes of what appears to be an overly caffeinated voyeur. There are many scenarios which could have been left out, minimised or replaced with more moments of tension (more than the one shown) to alleviate the feeling of being in an hour-and-a-half board meeting.

The music, composed by Mikel Salas, is bizarre. Salas uses cutlery and frying pans in an effort to match the poeticism of the cuisine, yet ends up making one feel as if they are listening to an Apple iPhone alarm instead of a sumptuous musical score. However, visually, the documentary delights.

The pastoral Basque countryside, the streamlined, cosy restaurant and the new ways in which the fragile dishes are put together all combine to give the audience a real feast for the eyes. There is an entrĆ©e tea ceremony where the cups are made from frozen, green tea leaves; then comes a broth only reachable by breaking into an edible bone with a rock and notably a soup-like-substance whereby the diner has to lean down and lick it out of a mould made to look like…well, it’s naughty.

Although ā€œNo Bread, No Dessertā€ has been applauded for its appeal to the masses, this reviewer feels this will appeal especially to the restauranteur and food lovers. It is fascinating for the risk-taker-chefs and those who are interested in combining cooking with storytelling. As Aduriz himself says, it is ā€œā€¦small sparkles and little pearlsā€.

To book tickets to this or any other film at the Spanish Film Festival, please visitĀ https://spanishfilmfestival.com/.

Spread the word on your favourite platform!