LAMB

Iceland, 2021, 106 minutes, Colour.

Noomi Rapace, Hilmer Snaer Gudnason, Bjorn, Hlynur Haraldsson.

Directed by Valdimar Johansson.

The title, Lamb, sounds innocent enough. Lambs, especially those who do not have to work on farms, seem nice and cuddly. However, there is a Biblical tradition of the sacrificial lamb. And what of the presence of lambs in fairy tales, folklore, in particular countries? Here is an Icelandic variation – not as might be expected.

In fact, the narrative of Lamb is certainly unpredictable. And, audiences will be wondering how to respond as the story unfolds, goes in those unexpected directions.

Probably a word of warning is necessary at the beginning of a review. This is not a film for impatient viewers. They will be turning off very quickly as the film becomes more and more reflective, a film that immerses its audience in the atmosphere of the story, of the settings, of the behaviour of the characters.

This is an Iceland familiar from many of the intriguing films from that country (producing more films than its small population might be expected to make). There are quite a number of films set on farms – and audiences will remember Rams. This is a farm out in the remote countryside, a road in and out, glimpses of cars, and a local bus at the end. However, remote is a key word.

As with so many Icelandic films, out in the countryside, the scenery and the photography of the scenery are quite spectacular, the mountains, the valleys…

There is an ominous opening sequence a herd of horses lost in a snowdrift. And that in great deal of attention to the flocks, in winter, the radio indicating that it is Christmas time, all the sheep in pens inside buildings, crowded together, all turning in the one direction when the farmer comes in, eagerly chewing when hay is strewn along the pathways and they all line up in unison, contentedly chomping. (Perhaps this is where the impatient viewers stop watching!). But we are also introduced to the farmer and his wife, Ingvar and Maria, young middle-aged, bonding together, more silent than talking, working with the sheep. And, as the weather improves, seeing them both out with the tractor, ploughing the ground, planting seeds. (Swedish actress Noomi Rapace spent childhood years in Iceland and speaks the language.)

The only thing which interrupts them is the farmer’s brother, ditched by a group in the countryside, seemingly with money problems, given hospitality by the couple, and working for his keep.

So far, so ordinary. But a highlight of the farmer’s work is the birthing of some lambs. There is a particular lamb that has a difficult birth, and the farmers distance the lamb from its mother. They nurture it, feed it, bringing it into the house, calling it Ada. And Ada is, of course, the lamb of the title.

As mentioned, the plotline is quite unpredictable, first with visual suggestions, then audience surprise at what is happening, the effect of the lamb on Maria, on Ingvar, and the reaction of the brother. And, since spoilers would be inappropriate, this has to be the end of a review with a final comment, tantalising, it is hoped, that what occurs is arresting, sometimes quaint, and, at moments, alarming. As said, this is a film which immerses its audience in life in this Icelandic farm.

1. The title, clear, the farm, the sheep, the birth of the lambs, difficulties of birth, the special lamb, Ada?
2. The settings, the isolated farm, the sense of remoteness, the road, the episode with the car and the dropping of the brother, Maria driving the car, the local bus? The farmhouse, the barn, the interior pens for the sheep? The exteriors of the buildings? The spectacular scenery, the mountains, the ranges, the valleys? The musical score, the final music from Handel?
3. The opening with the horses, the herd, lost in the snow? Suggestive atmosphere? The transition to the barns, the sheep, the interior pens, the focus on the sheep, looking in the same direction, the feeding, moving from pen to pen? The mothers, the births, the tending of the lambs? Then the special birth, the difficulties, Ada?
4. Ingvar and Maria, marriage, love, quiet, taking each other for granted? The domestic details? Love and affection? The revelation, later, with Maria visiting the cemetery, dead children? The absence of children and affection for children?
5. The details of work, tending the sheep, feeding the sheep? Attending to the births? The spring, the tractor, the fields?
6. Ada, the continued care, treated like a child, compensation for the loss of children? The effect on Maria? Eventually on Ingvar?
7. The glimpse of the hand, the change of atmosphere of the film, the humanising of Ada, her being treated like a child, growing up, legs, hands, standing up, at the table, seeming to understand? Dressed like a child? In the house, accompanying Ingvar to work, with Maria? The substitute compensatory child? Eat more and more at ease with Ada, taken for granted her presence in the house?
8. The brother arriving, his background, dumped, financial problems? The couple giving him accommodation? His immediate reaction about Ada? Disbelief, comment, his being told to acquiesce? His work out in the fields, on the tractor, the tractor breaking down? With Ada, reconciled to Ada? His advance on Maria, her response, locking him in the room, waking him, packing his bag, driving him to the bus, giving him the money?
9. Expectations for a happy life with Ada, the prospects of a happy farm, farm work?
10. Ingvar going out with Ada, to fix the tractor? The arrival of the Ram, animal, human characteristics, colour, sinister? The shooting of Ingvar? The Ram with the rifle? The taking of Ada? Maria, returning home, hearing the shots, rushing to the scene, cradling Ingvar, his death? The Ram Ada?
11. The film stopping rather than ending, the close-up on Maria’s face, the close-up on the audience’s reaction, on what they have seen, experienced, and the final violence? And prospects for the future?