Of Horses and Men

A spoiler light review of Of Horses and Men should begin with tone, because Benedikt Erlingsson understands exactly how this comedy ought to feel. Of Horses and Men gains early credibility from Ingvar Sigurdsson, whose presence is balanced by the different rhythm of Charlotte Bøving. The foundation of Of Horses and Men can be stated simply: A country romance about the human streak in the horse and the horse in the human. Within its 1h 21m running time, Of Horses and Men reveals both the benefits and the limits of that disciplined approach.

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Of Horses and Men gains much of its identity from well judged reactions, a choice that makes the world readable as well as attractive. The contribution of Filmhuset Gruppen allows Of Horses and Men to combine well judged reactions with a consistent visual language. Within its Iceland setting, Of Horses and Men makes particularly good use of performer rhythm when the story needs to change scale. Sound and editing preserve the personality of Of Horses and Men by supporting detail instead of announcing every intended response.

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The narrative of Of Horses and Men works from a simple but productive collision between Love and the central character. Through Ingvar Sigurdsson, Of Horses and Men keeps that premise rooted in a reaction the audience can understand. Benedikt Erlingsson introduces an important relationship at a useful point, giving Of Horses and Men a reason to change pace without abandoning its emotional line. The handling of a difficult choice is not equally fresh, yet Of Horses and Men usually earns attention through clarity rather than surprise alone.

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What Of Horses and Men has to say is rooted in embarrassment, status and the gap between confidence and reality. The experience of Ingvar Sigurdsson carries that question through Of Horses and Men without reducing the character to an example. A difficult choice helps Of Horses and Men test the theme through consequence instead of explanation. When Benedikt Erlingsson allows ambiguity to remain, Of Horses and Men becomes more involving than a simple statement of intent.

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The acting in Of Horses and Men is anchored by Ingvar Sigurdsson, who treats even functional scenes as opportunities to reveal character. Charlotte Bøving answers that approach with a different energy, giving Of Horses and Men welcome friction whenever the pace begins to settle. Around them, Johann Pall Oddson helps Of Horses and Men feel like an ensemble piece rather than a vehicle with decorative support. Under Benedikt Erlingsson, the performances in Of Horses and Men share a tone even when the writing gives them unequal depth.

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As director of Of Horses and Men, Benedikt Erlingsson proves dependable even when the material becomes familiar in the transitions between intimate material and larger demands. A strong scene in Of Horses and Men often begins with a modest detail before Benedikt Erlingsson lets its meaning expand. For Of Horses and Men, familiar choices gain value from committed execution because the central tone remains visible even during busy passages. The weakness in Of Horses and Men is that some developments arrive well before they surprise, although Benedikt Erlingsson usually finds the original rhythm again.

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For comedy fans who respond to personality and timing, Of Horses and Men is ultimately a satisfying recommendation with minor reservations. Its most persuasive combination in Of Horses and Men brings Ingvar Sigurdsson together with performer rhythm under the direction of Benedikt Erlingsson. The fact that some developments arrive well before they surprise prevents Of Horses and Men from being entirely seamless. Even with that reservation, Of Horses and Men has a clear point of view and enough genuine feeling to justify the journey.