L’Iceberg

Fiona (Fiona Gordon), a reliable mum and owner of a fast-food restaurant, accidentally gets locked in a restaurant freezer overnight. The joy of being able to use her wits to survive is soon dampened by the fact that neither husband Julien (Dominique Abel) nor children even noticed her absence. Now finding herself fantasizing about icebergs, Fiona resolutely sets off for the icy seas in search of adventure to revilitise her bored, suburban spirit. She meets René (Philippe Martz), an enigmatic, mute sailor and they head towards the arctic together. However, it would seem that Julien is not as indifferent to his wife’s whereabouts as first appeared.

This debut Belgian feature, from the filmmaking trio Fiona Gordon, Dominique Abel and Bruno Romy, is an innovative and fresh take on the physical meets spiritual voyage of literature’s grand narratives. Gordon’s and Martz’s romantic explorers are modern day captain Ahabs, seeking escape from the respective void and trauma of their pasts.

The filmmakers’ background in theatre and circus dominates the aesthetic of L’Iceberg, which plays out like a burlesque poem. The narrative is driven by physical comedy and set pieces of the highest order; they immediately bring to mind great predecessors such as Jacques Tati or Buster Keaton. The stark, primary colours add to the ostentation of the piece, while the sparing & efficient use of dialogues echoes a Jarmuschian world.

The film forms a mystical, deadpan fable; marrying mundane locations and characters with exotic locales and personas. It is perfectly performed by some very talented actors with striking physical traits, who remind us how great comedy and farce do not lie in gross shock tactics, rather subtle contortions and changes. That said, look out for some riotous sequences as the directors milk the quirky antics of the protagonists within their bizarre environments to hilarious and moving ends.