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Gunadttir, who starts as an instrumentation instructor at the London Conservatoire, was already one of the world’s foremost directors of musicians when she refocused her considerable talents for “Paradise.” Like her latest movie, Gurja’s Oscar-winning short “I Am Beautiful,” “Paradise” is a deceptively simple examination of the life of a single, despairing woman — and a thorough depiction of the isolation, loneliness, and subservience a life of isolation, loneliness, and subservience entails. Eschewing the grand gestures of her acclaimed 2007 British drama, “Bright Star,” Gunadttir and producer Deborah Warner hire Blanchett for a single scene, letting her surrender her icy cool for a stretch, but also giving her considerable restraint to lay down the themes of independence, authenticity, and artistry.
Gunadttir first introduces us to Lydia, a friendless retired actress studying at the London Conservatoire. Her story unfolds surprisingly in song: punctuating dialogue with simple arias that speak volumes, with each note echoing in the silence, haunting the halls. The music is suffused with the sour-sweetness of regret; there’s some bygone brush with revolution; the longing for a time when dreams were realized. As Lydia packs her things and her family’s due in a few weeks, she tries to leave the past behind.
As with “Bright Star,” however, Gurja (as she’s known in her native country of Iceland) doesn’t tell us much of the mundane minutiae of her friend’s daily life: the scents of her food, the furnishings of her lodgings, the looks she darts over the scuffed floors that characterize a lonely actress’s haven.
Like her previous international hit, 2011’s Cannes favorite “I Am Love,” “Paradise” follows a solitary woman as she moves from place to place, sometimes accompanied by others, at other times alone. d2c66b5586