A remote cabin in the Norwegian fjords, aboy and his absent father – My Father’s Island has all the makings of abrutally efficient survival drama. Adapted from David Vann’s 2008 novel, ‘Legend of aSuicide’, Vladimir de Fontenay’s film follows 13-year-old Roy (Woody Norman) as he agrees to spend ayear living off-grid with his estranged father, Tom (Swann Arlaud). Tom treats the wilderness as acure for their broken relationship – aplace where he can become afather and Roy aman.
At its best, the film understands the strange emotional charge of that fantasy. Though Roy appears to be at the story’s centre, the real subject is his father. Tom is desperate, near the end of his tether, and clings to Roy as though he alone can save him. Arlaud imbues his character with awounded volatility, all boyish charm and barely concealed panic, while Amine Berrada’s cinematography makes the landscape feel both majestic and faintly indifferent.
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The problem is that the film keeps hinting at depths it rarely explores. Some bonding scenes land, while others tip into sentimental father-son montages. Its swelling score pushes this familial tenderness harder than the performances can sustain. By the time its major late turn arrives, the narrative trick feels less devastating than engineered, reorientating the story without deepening it. Ahandsome, mournful film, but one that mistakes withholding interiority fordepth.
