These are my (slightly edited) notes distributed for a screening of the film in 2016.
Rams was a surprise arthouse hit in the UK in 2016. It was promoted as a dark comedy about a pair of brothers who have fallen out though they live close by each other on two separate farms. What brings them back into contact is an outbreak of disease among the local sheep and their farmer’s reluctance to follow government guidelines on disease control. For some audiences the film is dark enough to be a tragedy, but either way it seems to have captured the imagination of UK audiences.
Iceland has one of the highest per capita cinema attendance rates in the world. Whatever the reasons for this (long, cold nights with little to do?), it does mean a vibrant local film culture and a recent history of notable films that have won prizes at international festivals. For example, Volcano (Iceland-Denmark 2011) won the New European Cinema Prize at Bradford International Film Festival in 2012. Although a winner around the world, no-one was prepared to go on and release the film in the UK. The lead in Volcano was played by Theodór Júlíusson, now one of the two brothers in Rams. We should be grateful that Soda Pictures gambled and put Rams into distribution. Perhaps it was the leavening effect of humour which allowed Rams into distribution? The other recent Icelandic film to get a UK release, Of Horses and Men (2013) is also a ‘rural comedy’.
Like most Icelandic film productions (and TV serials like Trapped, on BBC4 early in 2016), Rams is a co-production involving Danish as well as Icelandic public funds. The budget for the film was around €1.5 million (about the same as the average for low budget UK films). Around 10-12 films are made in Iceland each year. The links to Denmark are ‘post-colonial’ in Iceland. They are necessary for such a small country, though after 1945 Iceland began to turn more to the US and the UK (the relationship with the UK has sometimes been similarly tense – note the aside about disease imported with British livestock in the film). Polish involvement in Rams perhaps reflects the fact that Poles are the biggest migrant group in the country. Iceland’s population is only 330,000 – less than Bradford and less than half the population of Leeds. Nearly two-thirds of the population live in the ‘capital region’ of ‘Greater Reykjavik’. Emotional dramas like Rams can be quite intimate. Population density outside the capital region is very low and people know their neighbours well. Family disputes stand out.
Rams was written and directed by Grímur Hákonarson, a young man still in his 30s who has made an affecting film about two brothers in their sixties. Hákonarson began his career working on documentaries and he also has experience of working with sheep. An interview with him is available on the BFI Player series (free to watch): https://player.bfi.org.uk/film/watch-rams-qa-with-director-grimur-hakonarson-2016/
Hákonarson trained in Prague and in the interview he explains that his instinct is to show rather than ‘tell’ as a Hollywood film might do. This means that as an editor, he always tries to cut the dialogue and that as a documentarist he is spontaneous – sometimes shooting scenes not in the script because they might offer something in the edit. For example, a scene in which one of the brothers, Gummi, shovels snow from outside his door was not in the script but now has meaning in the final edit.
Many of the incidents in the film that seem absurd or slightly surreal are in fact based on real incidents, including the trip to hospital and sheep in the basement. The central story is inspired by a true story the filmmaker learned from his father and some of the extras who appear in the film are local farmers. The film does confirm the old adage that the more ‘real’ a filmmaker wishes a film to appear, the more artifice is required. In this case that means a long period of preparation, including a search for amenable sheep (most sheep would simply run away from the filmmakers and Iceland has nearly 500,000 sheep), finding the two houses close together etc. Though the region of Iceland depicted in the film (in the North West) does have heavy snowfall in winter, it was still necessary to spend money on artificial snow (and CGI snow) for some scenes. Two sheep died ‘naturally’ during the filming and through use of CGI the two dead sheep could be used to show a flock being culled.
Tradition and family
Iceland is a ‘young country’ in terms of population profile with a median age of 35 and a high birth rate by European standards. But it is also a culture in which traditions are important as well as close family ties. The director has stated that he sees the ending of the film as symbolic.
Statistics on Iceland from: https://issuu.com/hagstofa/docs/icelandinfigures2015