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A White, White Day  2019
Hvítur, Hvítur Dagur / En Hvid, Hvid Dag
Director:  Hlynur Pálmason
Producer:
  Anton Máni Svansson
Art Director:
  Árni Jónsson
Editor:
  Julius Krebs Damsbo
Music:
  Edmund Finnis
Screenplay:
  Hlynur Pálmason
Director of Photography:
  Maria von Hausswolff
slideshow
Cast:
spacer1 Ingvar Sigurðsson
spacer1 Ida Mekkin Hlynsdóttir
spacer1 Hilmir Snær Guðnason
spacer1 Björn Ingi Hilmarsson
spacer1 Elma Stefanía Ágústsdóttir
spacer1 Sara Dögg Ásgeirsdóttir
spacer1 Haraldur Stefansson
spacer1 Laufey Elìasdóttir
spacer1 Sigurður Sigurjónsson
spacer1 Arnmundur Ernst Björnsson
spacer1 Þór Hrafnsson Tulinius
spacer1 Sverrir Þór Sverrisson
spacer1 Ingvar Sigurðsson spacer1 Ida Mekkin Hlynsdóttir spacer1 Hilmir Snær Guðnason
spacer1 Björn Ingi Hilmarsson spacer1 Elma Stefanía Ágústsdóttir spacer1 Sara Dögg Ásgeirsdóttir
spacer1 Haraldur Stefansson spacer1 Laufey Elìasdóttir spacer1 Sigurður Sigurjónsson
spacer1 Arnmundur Ernst Björnsson spacer1 Þór Hrafnsson Tulinius spacer1 Sverrir Þór Sverrisson
spacer1 Ingvar Sigurðsson spacer1 Ida Mekkin Hlynsdóttir
spacer1 Hilmir Snær Guðnason spacer1 Björn Ingi Hilmarsson
spacer1 Elma Stefanía Ágústsdóttir spacer1 Sara Dögg Ásgeirsdóttir
spacer1 Haraldur Stefansson spacer1 Laufey Elìasdóttir
spacer1 Sigurður Sigurjónsson spacer1 Arnmundur Ernst Björnsson
spacer1 Þór Hrafnsson Tulinius spacer1 Sverrir Þór Sverrisson

Synopsis:
The powerful new film by Hlynur Pálmason (Winter Brothers) opens with an old Icelandic saying: "When the earth and sky unite and everything is white, there is no difference between the dead and the living." On one level, this aphorism poetically describes the thick mists that can suddenly, almost magically descend upon the country's rural areas; on another, it describes the mental state of the film's hero, Ingimundur (Ingvar Sigurðsson), a police officer on bereavement leave after the sudden loss of his wife (Sara Dögg Ásgeirsdóttir) in an accident.

As his world literally falls apart around him (he keeps tearing down and rebuilding the house he was working on when the accident occurred), Ingimundur searches for someone to blame. He zeroes in on a neighbour whom he suspects may have had an affair with his wife, but his pursuit of vengeance winds up endangering those nearest to him, most notably his young granddaughter (Ída Mekkín Hlynsdóttir).

Review:
Pálmason renders this study of madness and loss with the same rigorous formal sense he brought to his stunning first feature, and he's aided by a fine cast — chiefly his lead, Sigurðsson, long hailed as one of Iceland's greatest actors, who here delivers what may be his finest performance to date. (He was given a special award for his performance at Cannes' Semaine de la Critique, where the film debuted.) Helpless, courageous, monstrous, and terrified all at the same time, his Ingimundur is a powerful portrait of a man consumed by guilt and sorrow.

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