On a white, white day, when you can’t distinguish the sky from the ground, the dead can speak to speak to the living, or so says an Icelandic saying. That’s the sort of day it is when Ingimundur’s wife dies, careening into an abyss in a speeding car. The widowed police officer tries to start all over again: he looks after his granddaughter, finishes a house for his daughter, goes to therapy. One day, however, his wife speaks to him. He accidentally tells her a secret, which, for the first time in a long time, arouses strong emotions in him. When the dam of feigned calm breaks, nothing can stop the violence. With his second film, the director of the unforgettable, extravagant Winter Brothers confirms that he is one of Scandinavia’s most talented young artists. More mature, formally cool and distanced, all the while seething with suppressed emotions, A White, White Day is a penetrating insight into our struggles with grief and, at the same time, an engaging film about retribution. The lead actor, Ingvar E. Sigurðsson, gives a convincing performance as a widower living in a trap of the past and slowly slipping into obsession. He justly deserved the jury award he received during Critics’ Week at Cannes.
Hlynur Pálmason is a photographer, filmmaker and painter. Originally from Iceland, he studied at a film school in Copenhagen. He made his full-length debut in 2017 with Winter Brothers, which was warmly received at numerous festivals: in Locarno (where it won the award for the best actor), in Toronto, at Camerimage (best cinematographic debut) and in Wrocław (FIPRESCI Award). It was also recognized as the best Danish production. Pálmason was inspired to make A White, White Day by a series of his own photographs titled A White Day.
2013 En maler / A Painter (short)
2014 Seven Boats (short)
2017 Zimowi bracia / Vinterbrødre / Winter Brothers
2019 Biały, biały dzień / Hvítur, Hvítur Dagur / A White, White Day