#Isold Uggadottir

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Movie-log 

156. Andið eðlilega / And breathe normally

Isold Uggadottir -- 2018 | Iceland | 5.5

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Andið eðlilega, 2018, dir. Isold Uggadottir

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And Breathe Normally (Andið Eðlilega, Ísold Uggadóttir, 2018)

[whileiamdying]

Review: ‘And Breathe Normally’ shows universality of immigration and addiction

Kristín Thóra Haraldsdóttir and Patrik Nökkvi Pétursson in the film “And Breathe Normally.” (Netflix)

By Michael Rechtshaffen Jan. 10, 2019 1:10 PM PT

The lives of two struggling women fatefully intersect in “And Breathe Normally,” an affecting first feature by Icelandic filmmaker Isold Uggadottir. Having an increasingly hard time making ends meet, Lara (Kristín Thóra Haraldsdottir), the single mother of a young son (Patrik Petursson), lands an opportunity to work as a border security officer at Iceland’s Keflavic airport. During her on-the-job training she crosses paths with Adja (Babetida Sadjo), an asylum-seeker from Guinea-Bissau attempting to travel to Toronto on a forged passport which has been intercepted by Lara. As Adja awaits inevitable deportation in a drab refugee center following a brief prison term, Lara, who has had past issues with drug addiction, is living a parallel constricted existence after losing her apartment and living in her car with her son, Eldar, who ultimately serves as the conduit that will again bring the two women face to face.

Set in a particularly gray and windswept stretch of the Reykjanes Peninsula, where those persistent, howling gusts serve as a chilling metaphor for the swirl of upheaval that threatens to uproot people like these, the film, which debuted last year at Sundance, covers considerable, resonant socio-political ground while being anchored by the compelling performances of its’ leads.

Despite their inherent differences, Haraldsdottir’s Lara and Sadjo’s Adja proceed to form a shared maternal bond that strikes a touching universal chord.

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And Breathe Normally

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And Breathe Normally (Andið eðlilega), Isold Uggadottir (2018)

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[wherever-i-look-blog]

And Breathe Normally is a slow-moving drama which has touching moments but won’t necessarily leave you saying or in awe.

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Director(s) Isold Uggadottir Written By Isold Uggadottir Date Released 1/4/2019 Genre(s) Drama Good If You Like Slow Moving Drama

Seeing People Trying To Get Their Life Back Together

Watching Immigrant Stories

Isn’t For You If You Need Comic Relief or Moments That Lighten Things Up

Require Characters To Have Notable Personalities

Noted Cast Lara Kristín Þóra Haraldsdóttir Adja Babetida Sadjo Eldar Patrik Nökkvi Pétursson

Images and text in this post may contain affiliate links which, If you make a purchase, I may earn money or products from the company. Most affiliate links contain an upward facing, superscript, arrow.

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And Breathe Normally Plot Summary (Ending on 2nd Page)

Lara is a struggling single mother who, with getting a job as a border agent, is finally seeing things turn around in her life. Unfortunately, the job comes around a month late for she and her son, Eldar, end up homeless. Enter Adja, a queer women trying to make her way to Canada, who gets stopped by Lara and whose passport is noted to be fraudulent, thus keeping her in the country. These two, later on, find themselves meeting and so comes the question if Lara, a fellow mom, will understand Adja’s desperation or put herself, and her child, before Adja trying to give her child the best life possible.

On The Fence

No Thrills, Just People Making The Best Out Of The Cards Dealt

Adja (Babetida Sadjo)

Lara (Kristín Þóra Haraldsdóttir)

One thing which may make this a hard movie to sit through is that it lacks the things many dramas employ to leave you on a high. The first doesn’t have it where Lara or Adja’s struggle is grueling and makes you deeply invested. Also, neither have the kind of personalities which stand out. They are everyday people. And, while they are both dealing with hardship, neither of their stories come to the type of ending which leaves you wanting to discuss what happened for better or worse.

In a way, what we get here is a slice of life drama. Something that, minus Adja finding herself suddenly part of Lara’s life, are everyday problems. Adja is trying to escape persecution for being queer in her home country and was caught on her way to Canada. Lara, a former addict, who may also be queer, is trying to be the mom to Eldar she wasn’t when he was a baby. Both stories could have been littered with dramatic moments, Eldar could have been used more for Lara to have empathy for Adja, but that doesn’t really happen here.

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What we ultimately get is something which is a drama solely because it depicts human life without thrills and paints the consequences of pursuing simple joys. Be it the joy which comes to love freely or get a hit off some drugs. Nothing more, nothing less.

Overall: Mixed (Divisive) | Available on Netflix

Adja (Babetida Sadjo)

By no means is And Breathe Normally bad. More so, it just isn’t for everyone. It lacks that oomph many dramas utilize to keep its audience engaged, and that creates a problem. One which, unless you are into slow-moving dramas, that don’t build up to a fever pitch, this will not entertain you. It will be the kind of film that leaves you always waiting for something to happen, someone to bring more energy to the film, and leave you frustrated when neither happens. For, in the long run, this is a film trying to tell a story, not be a means of entertainment.

Hence the mixed label. While the story and performances are real and grounded, there is nothing presented to give even the slightest hint of entertainment. It is all about givng its audience something raw with no sugar. Which, at times, makes this a bit difficult to sit through.

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And Breathe Normally‘s Ending Explained (Spoilers)

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Lara was really struggling trying to be a better mom than she was to Eldar while, during her probationary period, get to work on time, be ready, and impressive. Especially so she could obtain the position full-time, with benefits, and truly turn her life around. So, after coming across Adja, who ran into Eldar while he was trying to find his cat, this led to them having a relationship. Nothing romantic, or sexual, but with Eldar giving a slight nudge, they were at the very least friendly.

However, upon discovering Lara and Eldar were homeless, while Adja was in this one room community building, waiting to see if she could be given asylum, she decides to share her home. On top of that, since Adja was just waiting for a decision, she offered to take Eldar to school and take that off of Lara’s plate. Thanks to her doing so, she gets the job and when Adja, once again, tries to use an illegitimate passport to leave the country, this time Lara doesn’t say anything and lets her through. But not before thanking her for what she did.

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And Breathe Normally (#AndBreatheNormally) - Summary/ Review (with Spoilers) And Breathe Normally is a slow-moving drama which has touching moments but won’t necessarily leave you saying or in awe.

[blackinmotionpictures]

It was a banner year for female filmmakers at this year’s Sundance Film Festival, as each of the four Grand Jury Prizes given to competition films — the festival’s highest honors, as voted on by individual juries — was directed or co-directed by a female filmmaker. But “Clemency” filmmaker Chinonye Chukwu broke down a new barrier: she’s the first black woman to win the the festival’s biggest prize, the Grand Jury Prize for her U.S. Dramatic entry. Chukwu both wrote and directed the death row drama, which stars Alfre Woodard as a prison guard struggling with the emotional demands of her job.

In IndieWire’s review, Eric Kohn wrote of the film, “Alfre Woodard embodies the extraordinary challenges of a woman tasked with sending men to their death, while bottling up her emotions so tight she looks as if she might blow. Writer-director Chinonye Chukwu’s second feature maintains the quiet, steady rhythms of a woman so consumed by her routine that by the end of the opening credits, it appears to have consumed her humanity as well.”

Chukwu joins Desiree Akhavan, Ryan Coogler, Debra Granik, Damien Chazelle, and many more big names as winning the Grand Jury Prize for their U.S. Dramatic entries. Chukwu previously directed the 2012 drama “alaskaLand,” and has been directing short films since 2009.

In 2012, director Ava DuVernay became the first black woman to win a directing award at the annual festival, for her second narrative offering, “Middle of Nowhere.”

This year’s other Grand Jury Prize winners include Nanfu Wang’s “One Child Nation” (U.S. Documentary), Joanna Hogg’s “The Souvenir” (World Dramatic), and Tamara Kotevska and Ljubomir Stefanov’s “Honeyland” (World Documentary). Of note, last year’s winners boasted four female directors taking home the individual directing awards, including Sara Colangelo, Alexandria Bombach, Sandi Tan, and Isold Uggadottir.

“Clemency” is still seeking U.S. distribution.

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Movies I’ve seen: BIFF18: By female directors

Rafiki (dir. Wanuri Kahiu)

Battle (dir. Katarina Launing)

And Breathe Normally (dir. Isold Uggadottir)

Wild Relatives (dir. Jumana Manna)

Pick of the Litter (dir. Dana Nachman, Don Hardy)

The Night of All Nights (dir. Yasemin & Nesrin Samdereli)

The Heat: a Kitchen (r)evolution (dir. Maya Gallus)

Cielo (dir. Alison McAlpine)

Føniks (dir. Camilla Strøm Henriksen)

There are 4 fiction films and 5 documentaries. I’ve ranked them solely on personal preference, not on some attempt at objectivity. This doesn’t mean I think any of these movies are bad, but I think Cielo and Føniks are Not For Me. I found Cielo meandering and pretentious but occasionally very pretty, while Føniks was well acted, but child-has-to-be-the-adult isn’t a genre I’m particularly into. I don’t regret seeing either of them though!

Rafiki was my last film of the festival and I liked it a lot. It’s sweet but definitely not cloying. There was a moment that had the woman sitting behind me gasp loudly in shock. Both main characters are very likeable! I believe in Love damnit!

Battle is a Norwegian dance movie, with a girl ballerina and a boy hip hoper and it’s very enjoyable, and pretty much the only bad guy in it is the girl’s lies that eventually catch up with her. Probably there didn’t need to be quite so many side characters with 2-3 lines, but that’s a minor thing in a movie that does exactly what it says on the box.

And Breathe Normally is probably the actual best of these three movies, and if I were to rec one, it would be this one. It’s about a single mom who has no money who gets a trainee position as a border guard at the Icelandic airport and spots a woman with a fake passport trying to get to Canada. Their lives get tangled in each other, and it’s genuinely just a good movie? It’s much funnier and less tragic than it sounds.

Wild Relatives is about the first seeds withdrawn from the Svalbard seed vault, and what happens to them, and how they’re re-deposited. Super relevant to my interests!

I don’t know if I have a lot to say about Pick of the Litter, Night of All Nights and The Heat except that the first two are very touching in different ways (puppies grow up to be dogs! old people being together for more than 60 years!) and the last one is an interesting look at some top female chefs and how they run their kitchens.

I may have deliberately gone for a mix of Relevant to My Specific Interests and Fluff when I’ve chosen movies, but I’m only watching for my own personal enjoyment so I’m fine with that. 

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"And Breathe Normally" by Isold Uggadottir (2018)

“And Breathe Normally” by Isold Uggadottir (2018)

– First Feature –

A nice lesson of humanity in a world that needs it more than ever

Cast: Kristín Þóra Haraldsdóttir, Babetida Sadjo, Patrik Nökkvi Pétursson Director: Isold Uggadottir Writer: Isold Uggadottir Music by Gisli Galdur Cinematography by Ita Zbroniec-Zajt Film Editing by Frédérique Broos

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Os 50 melhores filmes para ver na Netflix agora

A Netflix é hoje o maior serviço de streaming do mundo e possui um catálogo com mais de 70 mil títulos. Entre eles, alguns são verdadeiras obras-primas e merecem ser assistidos por todos que apreciam a sétima arte. Com base em reportagens e rankings publicados por críticos de cinema de alguns dos jornais mais importantes do mundo, como “Telegraph”, “The Guardian” e “The New York Times”; a Revista Bula elaborou uma lista com os 50 melhores filmes da Netflix para ver agora. A lista traz produções de diferentes épocas e nacionalidades, como o recente “Roma”, de Alfonso Cuarón, que ganhou o Oscar 2019 de “Melhor Filme Estrangeiro”; e o clássico “Forrest Gump”, vencedor do Oscar de “Melhor Filme” em 1995. Os filmes estão organizados de acordo com o ano de lançamento e não seguem critérios classificatórios.

1 — Inspire, Expire (2019), Isold Uggadottir

2 — O Menino que Descobriu o Vento (2019), Chiwetel Ejiofor

3 — A Balada de Buster Scruggs (2018), Ethan e Joel Cohen

4 — Lazzaro Felice (2018), Alice Rohrwacher

5 — Legítimo Rei (2018), David Mackenzie

6 — Mais Uma Chance (2018), Tamara Jenkins

7 — O Outro Lado do Vento (2018), Orson Welles

8 — Para Todos os Garotos que Já Amei (2018), Susan Johnson

9 — Pérolas no Mar (2018), Rene Liu e Joe Martin

10 — Roma (2018), Alfonso Cuarón

11 — Shirkers – O Filme Roubado (2018), Sandi Tan

12 — Candelaria (2017), Jhonny Hendrix Hinestroza

13 — First They Killed My Father (2017), Angelina Jolie

14 — My Happy Family (2017), Nana Ekvtimishvili e Simon Gross

15 — Okja (2017), Bong Joon Ho

16 — A Criada (2016), Park Chan-Wook

17 — O Cidadão Ilustre (2016), Gastón Duprat e Mariano Cohn

18 — Sing Street (2016), John Carney

19 — Tower (2016), Keith Maitland

20 — A Bruxa (2015), Robert Eggers

21 — Brooklyn (2015), John Crowley

22 — Carol (2015), Todd Haynes

23 — Divertida Mente (2015), Pete Docter

24 — O Quarto de Jack (2015), Lenny Abrahamson

25 — O Regresso (2015), Alejandro González Iñarritu

26 — Que mal eu fiz a Deus? (2015), Philippe de Chauveron

27 — Sala Verde (2015), Jeremy Saulnier

28 — Spotlight (2015), Tom McCarthy

29 — Selma: Uma luta pela igualdade (2014), Ava DuVernay

30 — 12 Anos de Escravidão (2013), Steve McQueen

31 — A Árvore da Vida (2011), Terrence Malick

32 — Wall-E (2008), Andrew Stanton

33 — Tá Chovendo Hamburguer (2009), Phil Lord e Chris Miller

34 — Onde os Fracos Não Têm Vez (2007), Ethan e Joel Cohen

35 — O Labirinto do Fauno (2006), Guillermo del Toro

36 — Meu Nome É Rádio (2003), Michael Tollin

37 — Old Boy (2003), Park Chan-Wook

38 — Cidade de Deus (2002), Fernando Meirelles e Kátia Lund

39 — Falcão Negro em Perigo (2002), Ridley Scott

40 — Frida (2002), Julie Taymor

41 — A Vida é Bela (1999), Robertp Benigni

42 — Magnolia (1999), Paul Thomas Anderson

43 — Pulp Fiction (1995), Quentin Tarantino

44 — Um Sonho de Liberdade (1995), Frank Darabont

45 — Forrest Gump (1994), Andrew Stanton

46 — O Profissional (1994), Luc Besson

47 — A Lista de Schindler (1993), Steven Spielberg

48— Cabo do Medo (1992), Martin Scorsese

49 — Daughters of the Dust (1991), Julie Dash

50 — O Homem que Não Vendeu Sua Alma (1966), Fred Zinnemann

Os 50 melhores filmes para ver na Netflix agora publicado primeiro em https://www.revistabula.com

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Films I’ve seen for the first time and I’m so glad I got to see — For the month of January

Love in the Afternoon (Billy Wilder, 1957)

The Florida Project (Sean Baker, 2017)

Fences (Denzel Washington, 2016)

Hereditary (Ari Aster, 2018)

Ocean’s 8 (Gary Ross, 2018)

A Cure for Wellness (Gore Verbinski, 2017)

I, Tonya (Craig Gillespie, 2018)

Paris is Burning (Jenny Livingston, 1990)

Roman Holiday (William Wyler, 1953)

Mother! (Darren Aronofsky, 2017)

Breakfast at Tiffany’s (Blake Edwards, 1961)

And Breathe Normally (Isold Uggadottir, 2018)

Confessions of a Shopaholic (P.J Hogan, 2009)

Heart Beats Loud (Brett Haley, 2018)

Poetic Justice (John Singleton, 1993)

The Truman Show (Peter Weir, 1998)

A United Kingdom (Amma Asante, 2017)

Get Out (Jordan Peele, 2017)

The Zookeeper’s Wife (Niki Caro, 2017)

The Bronze Screen: 100 Years of the Latino Image in Hollywood (Susan Racho, 2003)

[stainedglassgardens]

And Breathe Normally (Andið Eðlilega, Ísold Uggadóttir, 2018)

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‘And Breathe Normally’ Review: A Drama That Humanizes the Border by CANDICE FREDERICK

By CANDICE FREDERICK

Through the stories of two very different women, Isold Uggadottir’s new film prompts viewers to reconsider their own notions of safety and belonging.

Published: January 9, 2019 at 07:00PM

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