Imagine if Lucian Freud and Mike Leigh got together to make a serial-killer movie, and then Quentin Tarantino turned up to play some vinyl to accompany the scenes of rape and murder, and you basically have Fatih Akin’s The Golden Glove.
Is it possible to update one’s identity? Where could the best possible nationalism be found? Nadav Lapid’s fragmentary masterpiece doesn’t give answers to the questions and won the Golden Bear in Berlinale.
A widowed police chief finds out about his deceased wife’s affair in this applauded psychological revenge story by one of Iceland’s most interesting directors, Hlynur Palmason (Winter Brothers, HIFF 2017).