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The filmmakers found the appropriate visual style to reflect the impressionistic post-rock ambience of Iceland’s most famous band. If the previous concert film Heima (2007, screened at Karlovy Vary in 2008) monitored Sigur Rós’s colourful pilgrimage across the stirring and more bizarre regions of their native island, Inni is conceived as anti-Heima: through detail it turns in on itself in search of the alchemy of live harmony and the experience of listening. Originally filmed on HD Digital, Inni was first transferred onto classic celluloid (16 mm) and then projected and re-filmed, sometimes through glass and other objects to give a strong impressionistic look, a feat accomplished with the help of Karl Lemieux, the visual collaborator for the band Godspeed You! Black Emperor. The film was then meticulously pieced together by Heima editor Nick Fenton, who chose to break up the flow with unexplained archive footage, including an interview from the period before the band’s exposure to the wider world at the end of the last century. (Karlovy Vary International Film Festival)
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Comparing Inni to Heima doesn’t really make sense. Heima focuses on the stunning landscapes of Iceland, while Inni is far more minimalist, mysterious, shot entirely in black and white, and zoomed in on the band members as they create the most mesmerizing melodies in the shadows. It’s beautiful to return to their music and get lost in the sound. That said, Inni feels more like a piece of art, while Heima had a much deeper emotional impact for me. Still, wherever Sigur Rós shows up, you know you’re in for an extraordinary musical experience.
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Foto © Cinema Purgatorio
