Valley of Shadows

In the 2017 film, Valley of Shadows, Norwegian filmmaker Jonas Matzow Gulbrandsen masterfully wraps viewers into a surreal journey into the eerie reach of primeval Scandinavian folklore. This Norwegian drama, will mesmerize the audience with its mysterious storyline and intriguing visuals.

Our protagonist, Aslak (Adam Ekeli), is a taciturn, six-year-old boy living in a secluded hamlet by the ocean side. Aslak’s world starts spinning when the tranquil serenity of this rural community is disrupted by murders of livestock in the surrounding undulating hills and encircling woodland, rumours abound that these ferocious killings are the handiwork of a wild, monstrous beast lurking in the obscurity of the forest. In the midst of these unsettling developments, Aslak’s older brother disappears without a trace, leaving behind a chilling wave of dread and apprehension that engulfs the young boy.

While the local authorities embark on their investigation, Aslak, steered by a blend of curiosity and his craving to understand what happened to his brother, undertakes an unconventional journey. Shunning the path of external law enforcement, Aslak decides to venture deep into the shadow-laden, brooding woods on his own, facing his fears to confront the menacing enigma head-on. This journey is not merely a physical expedition into the forest, but also a journey into the fathomless depths of Aslak’s mind, where the lines blur between the harsh reality, myth, and his transformative coming-of-age.

The performances contribute significantly to the essence of the movie. Newcomer Adam Ekeli delivers a compelling and expressive performance as Aslak, whose limited dialogue enhances the mysterious aura around his character. Kathrine Fagerland, in the role of Astrid, epitomizes the role of a single mother coping with her triggers without unraveling in front of her children. Her portrayal of strength, worry, and confusion sets the emotional tone of the story.

The themes of mystery and suspense are further echoed by the spellbinding presence of accomplished musician John Olav Nilsen as the police officer investigating the peculiar events, whose own anxieties and niggling trepidations mirror those felt by young Aslak.

The direction and cinematography are significant highlights of the film. Jonas Matzow Gulbrandsen presents an impressive directorial debut by spinning an intricate narrative that unearths fears, dreams and the lingering tendrils of Scandinavian folklore. The director’s skillful manipulation of lighting and shadows captures the gloom and uncertainty that characterizes Aslak's world, both internal and external, building up the atmospheric suspense while simultaneously unveiling the boy's psychological journey.

The cinematography by Marius Matzow Gulbrandsen complement the directorial style in creating captivating visuals. From panoramic shots of rugged Nordic landscapes, to intimate glances into the solitary life in a desolate hamlet, and eerie views of dark woods engrossed in hushed whispers of age-old folklore; the cinematography is truly exemplary. The visual storytelling builds a deep sense of foreboding, amplifying the sensations of mystery, fear and uncertainty, while revealing a mesmerizing spectacle of rural Norway.

Music and sound design by Zbigniew Preisner further amplifies the intensity of the narrative. Every note and rhythm seamlessly merges with the cinema’s visual storytelling, making the audience feel a part of Aslak’s journey and his emotional state.

Overall, Valley of Shadows is an intense, breathtaking cinematic experience. It presents a delicate and skillful blend of mythology, thriller, and coming-of-age drama set against the hauntingly beautiful backdrop of Norwegian landscapes. Furthermore, the film’s brilliant execution of a complex narrative allows ample room for individual interpretation, leading to a thought-provoking and engaging experience for every viewer.