Islands

Jan-Ole Gerster's Islands 2025, a German film screened at Berlinale, isn't aiming for grand cinematic statements, and that's precisely its strength. This psychological drama, co-written by Gerster, Lawrie Doran, and Blaz Kutin, gracefully explores a personality crisis against the backdrop of a Spanish seaside resort, weaving in a criminal subplot and questions of infidelity with impressive subtlety.

The acting in Islands 2025 isn't flashy, but it's remarkably effective. Each performance feels natural and nuanced, adding layers of depth to the narrative. Stacy Martin is particularly captivating, exuding an almost aristocratic air. Her on-screen chemistry with Sam Riley is palpable from their very first scene together, creating a compelling dynamic.

One of the film's most intriguing aspects is its use of unspoken narratives. The past is hinted at, a forgotten event that resurfaces to influence the present, but the details are never explicitly revealed. Gerster masterfully avoids cliché devices like flashbacks or exposition, instead leaving it to the viewer to piece together the fragments and interpret the characters' motivations. This delicate approach is both engaging and thought-provoking.

Minor characters, like the local and federal police officers, and especially a camel, leave a memorable impression, adding to the film's rich tapestry. The visuals and sound design effectively immerse the audience in the setting, enhancing the overall atmosphere.

Islands 2025 doesn't pretend to be a masterpiece, but within its chosen scope, it achieves near perfection. Beneath the surface story lies a subtle exploration of exploitation - how we are exploited by others, how we exploit ourselves, and the choices we make in response. This subtext, while understated, adds a layer of depth that lingers after the credits roll. It's a film that stays with you, inviting reflection and interpretation.

Currently, the film holds a rating of 6.7 which is quite fair. It is a solid drama which unfortunately is marketed as some kind of psychological crime thriller which clearly it is not. It is more a drama about your purpose in life and the thriller elements used are a means to cause disruption of the protagonist's every day life. The cinematography looks great, the actors are all delivering very convincingly. I read a review where someone regards even the supporting cast such as the local police man as very memorable - and I do agree.

Coming back to the beginning: The marketing of the movie feels misleading and it is unfortunate because the setting and idea of the plot is quite interesting and unique. A good drama for a calm evening that keeps you thinking about your life afterwards.

A burgoise film about middle class people with burgoise problems. An unhappy marriage, a bored tennis instructor. Is this really what the world needs right now?

It's mostly boring and very, very repetitive. In the typical way of german movies, conflicts are only touched on, but do not break out. Nothing is really spoken out, nothing gets resolved. You could charitably call it "subtle", but I find it rather gutless, bloodless and boring. It may well be that in reality things go down so tame, and yes, in reality most of the time nothing really stark happens in a secure middle class life. But why should I pay admission and sacrifice two hours of my life? I at least want to learn SOMETHING new, have SOME kind of experience or revelation. The only thing I really took away from the movie were superficial things like beautiful landscape shots. And I could look at attractive actors for two hours. What I found most interesting were the interactions between the tennis instructor and the camel farm owner and the policeman. Something like real life shone through in these moments.

Of course, the frustrated tennis teacher who doesn't care about anything is likeable, especially being portrayed by this magificent actor Sam Reilly. After the first third of the movie, you have high hopes for some exciting events unfolding. The music also prepares us for a Hitchcock-style thriller, and the images as well foreshadow something tragic about to happen. But unfortunately, it doesn't happen. You get the feeling that the music was added by the distributor to sell the audience a thriller.

In the end, the movie more or less comes to nothing. Neither the marriage problems are solved, nor does the tennis teacher find meaning in life, nor is the stupid husband punished for his egoistic behaviour. The film leaves the viewer baffled. What was it all about?

I give five stars for beautiful cinematography and precise acting.

"Islands" is a fantastic and at the same time highly entertaining psychological thriller that breaks with classic structures. Tom (Sam Riley) is a bored tennis coach at a hotel in Fuerteventura, where he spends the years after his professional career-drinking in the clubs at night and having one-night stands. He meets the Maguire family, whose son Anton he trains. Soon, Tom develops a fascination for Anton's mother, Anne (Stacey Martin), and the two can be seen as the film's polar opposites.

When Anne's husband Dave disappears for a few days, Tom supports Anne in her search and lovingly cares for Anton. Anne seems liberated and relieved that Dave is no longer burdening her with his presence. When Dave reappears, Anne falls back into her old patterns in a mysterious and strongly dependent way.

For me, the film is a profound psychological drama in which two people meet whose loneliness is so strong that, as a viewer, you want to stand up and shout to the characters: Now, right now, you have to change your life-just take a small step toward each other.

While Tom is empathetic and kind, Anne appears rather cool and unpredictable, yet Tom falls in love with her. When the family flies away again, Tom begins to look at his life from a different perspective, realizing how his routines and rewards-along with the sea and the sun-have kept him trapped.

Sam Riley and Stacey Martin deliver outstanding performances. Riley always seems to have a little too much emotion, too much vodka, too much coke, which contrasts with his inner diligence and the responsibility he takes on. Martin plays her role reservedly, minimally, coolly. Only in one moment, when her husband still hasn't been found after four days, does she reveal her underlying emotions in a restaurant by the coast-downing her drinks, laughing loudly, and arguing with Tom, who tries to bring her back to her restraint because the police have Anne in their sights as the main suspect.

I really enjoyed the film; it was a big surprise because, for a European feature film, it has an astonishingly ambitious narrative scope, is cast with outstanding actors, and repeatedly steps away from the strictness of a tight script to focus on the spaces in between, the unspoken, and the very subtle tones.

The film aims to dive into the deep sea of emotions, offering a psychological portrait of a man adrift-without goals or direction-set against an otherwise idyllic landscape. As he finally gets confronted by his past, the story presents him with a chance to change his life.

*** However, in the end, the film fails to fully deliver. While the cinematography is solid and captures the beauty of its setting, it isn't enough to compensate for the script's inconsistencies and narrative leaps. The film treats its viewers as smart enough to understand what is implied by the script but most crucially, it struggles to forge a real connection between the audience and its main characters. Just when it feels like something significant is about to happen, the momentum deflates, creating a persistent sense of detachment.

*** The final result feels like a missed opportunity. While Islands had the potential to be a compelling character study, it ultimately leaves a bitter aftertaste, making one question whether the two-hour runtime was truly worthwhile.