Valdimar Jóhannsson on Lamb, Sjón and Rapace

The much-awaited Icelandic film Lamb vying for the Camera d’Or and the Un Certain Regard Prize, offered many well-prepared surprises to the audience of the Théâtre Debussy in Cannes on Tuesday morning. The general public will be able to discover for itself the key elements of the plot once the movie opens in the 50+ territories pre-sold by New Europe Film Sales.

Written by first time director Valdimar Jóhannsson with celebrated author, poet and lyricist Sjón, Lamb is set in a remote Iceland sheep farm, surrounded by mountains. Maria and Ingvar’s routine job is suddenly disrupted when they discover a mysterious new-born in their sheep barn. They decide to keep ‘Ada’ and raise it but soon have to face the consequences of defying the will of nature.

Swedish born Noomi Rapace who grew up in Iceland and speaks Icelandic, makes a terrific come back to European arthouse fare in the role of Maria. Hilmir Snær Guðnason (Alma, White Night Wedding) is her husband Ingvar and Björn Hlynur Haraldsson (Trapped, Fortitude) is Ingvar’s brother.

The first reviews from the trade press were positive, with Screendaily’s Wendy Ide saying: “combining a career-best performance from Noomi Rapace and moments of macabre humour, this is a film which could have cult breakout potential.” Indiewire’s Eric Kohn said the film “is derivative in parts but impressive once its big twist comes together.”

The film was produced by Hrönn Kristinsdóttir and Sara Nassim for Iceland’s Go to Sheep, in co-production with Piodor Gustafsson and Erik Rydell (Black Spark Prod, Sweden), Klaudia Śmieja-Rostworowska and Jan Naszewski (Madants Poland), Film i Väst, Chimney Sweden and Chimney Poland, in association with Rabbit Hole Productions and Helgi Jóhannsson.

The film was supported by the Icelandic Film Centre, Swedish Film Institute, Polish Film Institute, Iceland’s Ministry of Industries and Innovation, Eurimages and Nordisk Film and TV Fond. The theatrical release in Iceland is set for August 20, 2021.

We spoke to Valdimar Jóhannsson at the Scandinavian Terrasse in Cannes.

How was your experience of world premiering your film in Cannes?
Valdimar Jóhansson: It was overwhelming. I was super stressed before the screening. I feel 10 kilos lighter now! It was also wonderful to share the big screen experience. I’ve heard that it was a very tight competition so it’s a great honour.

How did you develop your taste in film?
VJ: I’ve always had an interest in cinema. When I was young, I moved to Reykjavik to do a film school for three months. After that I started working in film. In 2013, I signed up for a course at Bela Tarr’s Film Factory in Sarajevo. They had great speakers - Tilda Swinton, Christian Mungiu, Carlos Reygadas among others. Seeing how other directors work inspired me even more. Now I have over 20 years-experience of working in film, notably in special effects and lighting on top of writing and directing.

What was the starting point for Lamb?
VJ: It was a long process. I started by making a sketchbook, with drawings, paintings, references to folk tales. A storyline started to emerge. I felt Sjón the celebrated author/screenwriter, would be the right person to work on the script, as he’s written a lot about folk tales himself. One of my producers Sara Nassim introduced me to him and for two years, we exchanged ideas, worked organically, and took our time to create the story for a film that we absolutely wanted to see on screen. We did a treatment, showed it to our producers Sara and Hrönn [Kristinsdóttir]. They liked it, and Sjón took over the writing. Over the years, I’ve developed a friendship with Sjón and I’m sure we’ll collaborate again.

Did you have references in mind?
VJ: I like a slow cinema. We really wanted to make an arthouse film, with surrealist elements. We never saw it as a horror movie. People might look at it as a sombre film, but we had much joy doing it.

Where was it shot?
VJ: I did a detailed storyboard and had a precise idea of what I was looking for regarding the main setting, the farm. I travelled twice around Iceland to find the ideal place, which we found in the northern part. I also wanted a farm in clay. The house we found was surrounded by mountains, and nobody had lived there for many years. The layout was complicated which intrigued me even more.

How did you get Noomi Rapace to play the major part of Maria?
VJ: We knew it would be challenging to convince her to work on a small budget Icelandic film. We felt she would be perfect for the role, and she speaks Icelandic. The character she plays is altogether soft, gentle, strong.

We went to visit her in London. I am super shy, and didn’t say much. But after our encounter, she was enthusiastic and super invested in the project. Noomi was basically in-character from day 1. She was in turn soft, gentle, also strong-minded.

My grandparents were sheep farmers. I remembered their very equal relationships, their mutual respect and love. In the film, Maria is the stronger character. Her husband Ingvar is willing to do anything to make her happy.

Although the film is first and foremost an eery supernatural drama, there are touches of humour and many people at the world premiere laughed at different parts of the movie...
VJ: It’s essential to have relief from laughter in this tense drama. The first chapter is heavy, then when Petúr - Ingvar’s brother - arrives, his larger-than-life personality and openness brings a humorous touch.

You must have appreciated working with an experienced crew for your first feature film. How was your collaboration with your cinematographer and editor?
VJ: I had known DoP Eli Arenson [Trapped] for a long time. As it’s a co-production with Poland, we were introduced to Agnieszka Glińska. She is an amazing editor and I feel lucky to have worked with her.

How did you decide what to show-or not, to create the unease and the character of Ada? Who did the VFX?
VJ: To create Ada, we used children, puppeteers, sheep. It was very hard but I think we succeeded in making it believable. VFX supervisor Peter Hjorth as well as Fredrik Nord from Sweden’s Chimney Pot came on board.

What’s next?
VG: I’m not quite sure right time. I’m enjoying the present time. I’m open to all genres.