Terribly beautiful is one succinct way to describe this Danish-Icelandic drama that world-premiered at this year’s Cannes Un Certain Regard. Definitely a slow burn, Godland takes us on the journey of a Danish priest, Lucas, through Iceland in the late 19th century. Charged with building a new church there, Lucas takes an extended journey by boat, horseback and on foot, traversing the Icelandic landscapes with his translator guide and the aloof Icelander Ragnar. For me, all the glory in this film comes from its impressive locations and the cinematography that reveals and revels in them. Soaring hills, cracked ice lakes, tumbling waterfalls, broad plains, black beaches and distant volcanoes are all varieties in a bowlful of eye candy. Lucas and the other travellers’ long path from start to finish is less interesting in my opinion, especially in a film that runs over two hours.
Lucas’ struggle to acclimatise to the Icelandic biomes is mirrored in his obstinance with the language, people and their culture. The film jumps between Danish and Icelandic, and in the final third we live with a Danish family settling in the Icelandic village Lucas is building the church in, and get to experience some of the cross-cultural learning 19th-century settlers might have encountered.
The film is based off of photographs found buried in a box in Iceland, and if you have a spare few hours and enjoy a slow, meandering film of visual magnificence then Godland is worth the watch.
Kena
Sydney Film Festival