GLASGOW FILM FESTIVAL 2020 - Eden

GLASGOW FILM FESTIVAL 2020

As many countries have shown in the past, the easiest way of making a big splash to the world stage often seem to be a well made crime film, usually with a love story at its core. Icelandic filmmaker Snævar Sölvason’s film, Eden, strifes to be one of those many films.

The film wastes no time jumping right into the action—opening with a foot chase through the streets of Icelands capital Reykjavik, we’re introduce to Oliver (Hansel Eagle), a drug dealer on the run from the police wearing only a towel. Running into the first house he can, we’re introduced to the films second lead, Loa (Telma Huld Jóhannesdóttir), a drug user Oliver has to save after finding her passed out in a bathtub. The two quickly fall for each other as thery begin working as dealers for the local drug lord with dreams of finally leaving the city, but following the death of one of his dealers, the two decide to take the drugs and sell on their own, putting them on a collision course with the drug lord.

The film is shot quite well despite having a overly digital look. Utilizing steady/handheld camera work and neon lighting to great effect, the film often recalls the work of Michael Mann or Nicolas Winding Refn. Clocking in at just 88 minutes, the films editing helps keep the film moving by with no scene really dragging any longer than it should, which creates great pacing but often leaves plot threads to the wind. The meandering script takes it time trying to get you to care for the characters and really live in their existence, despite very little in terms of character development.

Despite the film introducing us to Oliver first, the film primarily keeps everything from Loa’s perspective as we’re often shown the effects drugs are having on her mental state—one of the few times the film really tries to get to know the characters. The films leads do admirable jobs at fleshing out the characters despite them never growing much beyond their love for each other, money, and drugs. The chemistry of the two isn’t the strongest but it keeps the film together and generally watchable.

Snævar Sölvason’s Eden is a film that’s been seen and done millions of times before. Tons of style with little substance. Despite flashes of visual and editing flair and dips into surrealism, the codependent love story at the core of the film is what keeps it together more so than its derivative crime half does.