Another Un Certain Regard keeper that should have probably been in last year’s Cannes competition. Icelandic writer-director Hlynur Pálmason’s third feature, following his gripping “A White, White Day,” took inspiration from the photographs of a Danish priest in Iceland’s southeastern coast during the late 1800s. Following Lucas, the most unsympathetic priest you’ve ever seen on-screen, and his call to build a church in the brutal conditions of an Icelandic region, the film is a slowburn that slowly reveals its shattering cards. The more the film goes along, the more Lucas starts to lose his faith, and sanity. The visuals are striking, but so is the ambition of the storytelling. It plays like a Herzogian vision of madness. [B]
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