Winner of the Critics Week Grand Prize at Cannes this year, Benedikt Erlingsson’s Woman at War certainly has it charms.
Erlingsson and Olafur Eglisson’s screenwriting is tried and true 101 stuff, meaning the film provides repetition of unique and endearing items: a three piece band, a trio of traditional singers, and a recurring vacationer on a bike.
So while part of me enjoyed these items, like I do occasionally watching Kramer slide sock feet into Seinfeld’s apartment, I think the movie would have been more moving with more of a back story on the main character Halla (and her twin sister Asa) played by Halldora Geirharosdottir. I understand caring about the environment and feeling passionate about a topic (mine is child abuse), yet I could have used more information on her reason d’etre to fully be moved.
On the other hand, these Icelandic writers put our American formulaic, overly violent and pointless action movie plots to shame. Halla doesn’t need any super powers, she merely needs a crossbow, sturdy saw and some great hiking shoes.
The movie also has the best ending of 2019; thus far, I realize its early. And while i can’t give it away, I certainly felt gender empowerment as I left the theater, a strong feminine, “I Got This!”.