THE LOVE THAT REMAINS

A corrugated iron roof is removed, lifted by a crane, and appears to float weightlessly above the walls of the house. This allegorical image opens THE LOVE THAT REMAINS, the fourth film by Icelandic director Hlynur Pálmason, which tells in a loose, impressionistic form the story of a couple who have separated but cannot escape each other. This is because of their children, but also because of the confines of their homeland, whose landscapes almost become a character in their own right. Pálmason’s film is both existentialist and poetic, but above all, it transcends conventional narrative forms.