This idealistic feature draws parallels between the struggles of immigrant Polish workers in Norway and the homophobia faced by two young lovers, but can’t quite sew up the two seams
Director Leiv Igor Devold makes an unexpected link-up between Norway, the country where he grew up, and Poland, where he attended film school, in this idealistic but sometimes heavy-handed second feature. He also finds invigorating cross-currents in contrasting the collectivist struggles of immigrant Polish fish-processing workers with another oppressed minority: the stuttering romance, in the face of homophobia, between young wage slave Robert (Hubert Miłkowski) and his supervisor Ivar (Karl Bekele Steinland).
Robert finds himself gutting salmon in a factory on a Norwegian island in order to send money back home. But it is Ivar – the black adopted son of the factory owner Bjorn (Øyvind Brandtzæg) – who gets under his skin. A wannabe actor slumming it courtesy of dad,...
Director Leiv Igor Devold makes an unexpected link-up between Norway, the country where he grew up, and Poland, where he attended film school, in this idealistic but sometimes heavy-handed second feature. He also finds invigorating cross-currents in contrasting the collectivist struggles of immigrant Polish fish-processing workers with another oppressed minority: the stuttering romance, in the face of homophobia, between young wage slave Robert (Hubert Miłkowski) and his supervisor Ivar (Karl Bekele Steinland).
Robert finds himself gutting salmon in a factory on a Norwegian island in order to send money back home. But it is Ivar – the black adopted son of the factory owner Bjorn (Øyvind Brandtzæg) – who gets under his skin. A wannabe actor slumming it courtesy of dad,...
- 4/29/2024
- by Phil Hoad
- The Guardian - Film News
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