Icelandic Film Centre

A story of siblings building a tree house together over the course of a year. We experience the beauty and brutality of the seasons, as we follow them through their struggles and moments of joy.

Icelandic performance art meets Spinal Tap in this wickedly fun look at women behaving creatively. Three bandmates, Álfrún, Saga and Hrefna, of The Post Performance Blues Band, are tired of playing to audiences of five at their gigs and getting paid in beer. Each of them is staring down 40 and exhausting themselves juggling motherhood and their artistic pursuits. They decide to give themselves one year to either become popstars or quit the band for good. What follows is a make-it-or-break-it story of a band that's not really a band, pursuing a goal that is not actually attainable. Band member and filmmaker Álfrún Örnólfsdóttir puts herself, along with age and gender bias, on stage in this docu-parable about talented but not teenaged women trying to be successful in a youth-obsessed, overnight-success industry. Band allows gifted artists to perform the resilience and sisterhood that truly exists between life's messes, rejections and triumphs.

In search of kicks in Reykjavik in the year 2000, a pretty teenager, Stella, teams up with a handsome alcoholic, Robbi, and in a stolen car careers through Iceland with unexpected and bizarre consequences.

Bogancloch is where Jake Williams lives, nestled in a vast highland forest of Scotland. The film portrays his life throughout the seasons, with other people occasionally crossing into his otherwise solitary life. At the heart a song, an argument between life and death, each stating their case to rule over the world. The film is without exposition, it aims at something less recognisable, a different existence of reality observed in discrete moments. A sequel to Two Years at Sea (2011), charting a subtly changing life in a radically changing world.

The Icelandic parliament has been presented with a bill which will allow the Institute for State Supervision to create a SuperCode Databank which will centralize all other databanks based on personal ID numbers; with this SuperCode the Institute can follow and monitor everyone’s behavior. Hannes, a middle-aged man who still lives with his aging mother, works at the Institute, and he is the originator of the idea. Hannes has already secretly started working on it on his computer, even though it is uncertain that Parliament will agree to it. Hannes is in love with Stefania, the new secretary in the Institute, and hopes to impress her with his “private” SuperCode Databank. But one day, Hannes’s computer, containing the databank, is stolen. Hannes is afraid of the consequences if it is discovered he has been working on the SuperCode illegally. He starts trying to catch the thief himself only to become a victim of the very systems he has believed in and worked so hard to strengthen.

When 20-year-old Ejva inherits her father’s reindeer herd upon his death, she takes over the family tradition and struggles to keep it thriving. At the same time, the local leader Heaika develops romantic feelings for her, and though hesitant, she feels compelled to accept. Everything changes when Nejla, Heaika’s cousin, arrives, and Ejva discovers true love for the first time. Betrayed and jealous, Heaika reacts harshly, leaving Ejva with a condition that makes her hands shake uncontrollably, threatening her ability to care for the herd. Ejva must find a way to reclaim control over her life and her future.

The death of Jon's mother forces him to take on a journey with her corpse in the backseat to fulfill her last wish. Bresnef the dog comes along and this trip will be the gamechanger Jon never dreamt of.

The head of the Reykjavík police department's internal affairs unit decides to use his investigation into a corrupt police lieutenant to take down a major criminal organization.

An archaeologist, her ex-husband who is a Norse language expert, search for legendary treasure in Iceland during Christmas. Others join the hunt, leading to a thrilling race to secure the treasure before the wrong people obtain it.

The Polish village of Stare Juchy has been pulled apart. A third of the population left to work in Iceland, and those who stayed behind—most of them from the older generation—are hoping for their return. But by now their children and grandchildren are settling into new lives on the other side of Europe. The distance separating them is great and the journey expensive, so they don’t get to hug each other very often. The best alternative is intensive contact by Skype.

"Art was an important factor of my childhood, where I would spend time watching mama, through the threads. Today I am back in Iceland, watching her again - this time through the camera. We have not lived under the same roof since I was a teenager. I am 35, without children and a strong desire to make a film about her. Mum is not interested in being filmed. The film does not only deal with a mother - daughter relationship, but also a filmmaker and a subject with their own will." Salóme is Yrsa´s first documentary after finishing her master in creative documentary at Pompeu Fabra, iDEC, Barcelona.