Ingvar E. Sigurðsson

Ída Mekkín Hlynsdóttir

Hilmir Snær Guðnason

Björn Ingi Hilmarsson

Elma Stefanía Ágústsdóttir

Sara Dögg Ásgeirsdóttir

Haraldur Ari Stefánsson

Sigurður Sigurjónsson

Arnmundur Ernst Björnsson

Laufey Elíasdóttir

Thor Tulinius

Sverrir Þór Sverrisson

Erik Bjerknes

Anton Máni Svansson

Julius Krebs Damsbo

Hulda Helgadóttir

Lars Halvorsen

Hlynur Pálmason

Edmund Finnis

Guðmundur Arnar Guðmundsson

Skúli Helgi Sigurgíslason

Janne Kokki

Sara Yousefi

DanÍel Imsland

Ari Birgir Ágústsson

Árni Jónsson

Katrine Tersgov

Kristinn Guðmundsson

Elias Branner

Björn Viktorsson

Atli Arnarsson

Árni Gylfason

Geir Njarðarson

Emil Morávek

Helga Joakimsdottir

Paweł Juzwuk

Frosti Fridriksson

Henning Szpiro Eriksen

Elfar Sverrisson

Gustaf Forsberg

Ómar Frans Fransson

Palmi Gudmundsson

Nina Grønlund

Siggi Kjartan

Niklas Skarp

Helgi Vigfus Valgeirsson

Kristín Traustadóttir

Jesper Rønn Hansen

Magnus Sort Eidemark

Suvi Korpela

Maria von Hausswolff

Heimir Sverrisson

Drama

Hvítur, Hvítur Dagur

Join Motion Pictures

Snowglobe

Film i Väst

HOBAB

Det Danske Filminstitut

Glassriver

Iceland's Ministry of Industry and Commerce

Icelandic Film Center

Kukl

MEDIA Programme of the European Union

Nordisk Film & TV Fond

RÚV

Sena

Svenska Filminstitutet

Belgium

Denmark

Iceland

Norway

Sweden

English

Íslenska

A White, White Day

SWITCH.

Short on plot but long on atmospherics, Pálmason's film reveals itself as a deeply considered and profound statement about the slippery nature of masculinity, loneliness, anger and the human capacity for love.
- Jake Watt

Read Jake's full article...
https://www.maketheswitch.com.au/article/review-a-white-white-day-love-loss-and-anger-in-iceland

Peter McGinn

It seems to me that A White, Whirte Day was trying to be an artsy Indie type film and, if I am right, I think they aimed too low. The way the camera sometimes lingers on a still life scene, the times when it feels like they are using symbolism, such as when we watch a rock rock a great distance down a hill, off a cliff, into the water and down to the ocean floor — all seem to be working too hard at it, screen time which I believe would be better served focusing on the atmospheric use of the landscape and the fog.

The writing is strong in many places, but inconsistent. The child Salka is my favorite character, stealing scenes as often as not. She isn’t one of those stereotypical adults in a child’s body. She behaves as a child many times, but she is also given some good lines and delivers them well. 

It would have been easier for me to submerge myself in this movie if I had liked the main character, but alas, I never really rooted for him. His best moments were, again, with his granddaughter; other than those scenes I found myself wishing he were shuttled into the background more and other characters brought forward.

The plot crawls to a crescendo at the end. I won’t give away any details, but I found it to be unrealistic and felt that the main character was allowed to get off way too easy for his actions. Though I will say that, unlike many of the Indie films it may be emulating, it does have an ending of sorts, rather than just stopping trhe plot and action in midair.

International Trailer [Subtitled]

A White, White Day( 2019)

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A review by SWITCH.

Written by SWITCH. on Wed Jul 22 2020

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