LET ME FALL (Lof mer ad falla) - Review By Greg Klymkiw - Great new Baldvin Z @ TIFF 2018

The love, pain and confusion of teen years lasts a lifetime.

Let Me Fall - Lof mer ad falla (2018)
Dir. Baldvin Z (Zophoníasson)

Scr. Birgir Örn Steinarsson, Baldvin Z
Starring: Elín Sif Halldórsdóttir, Eyrún Björk Jakobsdóttir, Kristín þóra Haraldsdóttir, Lára Jóhanna Jónsdóttir, Þorsteinn Bachmann

Review By Greg Klymkiw

And it ain’t gonna rain anymore
Now my baby’s gone
And it ain’t gonna rain anymore

Now my baby’s gone

Now the storm has passed over me
I’m left to drift on a dead calm sea
And watch her forever through the cracks in the beams
Nailed across the doorways of the bedrooms of my dreams

- Nick Cave "Ain't Gonna Rain Anymore"

High school student Magnea (Elín Sif Halldórsdóttir) is armed with a wad of cash she's secured up-front from a burly, bearded miscreant looking for jailbait sex in his suburban Reykjavik home (adorned, no less, with photos of his wife and kids). She has no intention of delivering the foul goods he's after. She produces a blood-filled hypodermic needle and threatens to stick the sweaty corpulent pig if he doesn't let her leave untouched.

After beating a hasty retreat with her collaborators-in-duping-pathetic-slobs, Magnea sits in the back seat with her best friend Stella (Eyrún Björk Jakobsdóttir) and their pimp-like beau in front. As the opening credits for Let Me Fall unspool, the camera holds close on Magnea's face as she stares out the window of the fast-moving car. To the casual observer, her face might seem blank, but as the lens remains fixed upon her visage, it's a picture that tells a story of deep pain, pain that's going to become more acute as the next 136-minutes of the new film by the gifted director Baldvin Z unfolds.

Based on interviews with the families of drug-addicted teens, the screenplay by Birgir Örn Steinarsson and Baldvin Z, yields one of the most shocking, compelling and profoundly moving films ever made about addiction. It's a story that spans from late childhood to young adulthood (the older Magnea and Stella are respectively played by Kristín þóra Haraldsdóttir and Lára Jóhanna Jónsdóttir), charting a friendship rooted in love, co-dependency and finally, the sort of betrayal that enslavement to the needle can lead to, a betrayal that changes the lives of both women forever - horrifyingly and sadly irrevocable. The four actresses playing these two women over several decades provide work that is nothing less than stellar. Running the gamut of emotions and actions, this is extraordinary work.

Though focusing primarily on these two young women, the film also touches upon the struggles endured by Magnea's parents and in particular her loving father (Þorsteinn Bachmann). At first shocked that his academically gifted daughter succumbs to behaviour that hardly seems commensurate with her huge potential, he attempts to provide as much love and support as he can. Addiction, however, proves to be a greater lure than parental love. Some of the most wrenching, heartbreaking scenes in the film come from Bachmann's performance, the quiet sadness on his face, the desperation in his eyes and eventually, the explosive anger he emits when confronting a man who has sexually enslaved his daughter. At one one in the film, when the Father comes to the realization that there is nothing more he can do, it's impossible not to be moved to tears by Bachmann's performance.

Then again, it's impossible not to be moved to tears throughout the entire film. From the opening shots of Magnea's youthful face, so full of portent, to the final images of her older, drug-ravaged face as we hear Zoe-Ruth Erwin's evocative cover of Nick Cave's "Ain't Gonna Rain Anymore", this is a film that never flinches, never hides from the veracity of life. Let Me Fall is a rollercoaster ride of despair, desperation and deceit. It's about avoiding hard truth and then, once facing the truth, not even knowing what it is anymore.

This is a great movie!

THE FILM CORNER RATING: ***** 5-Stars

Let Me Fall (Lof mer ad falla) has its World Premiere at TIFF 2018

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