Godland represents the third long-form partnership between Icelandic director Hlynur Pálmason and Swedish cinematographer Maria von Hausswolff DFF, who resides in Copenhagen, Denmark, following their collaborations on Winter Brothers (Vinterbrødre) (2017), shot on Kodak 16mm film, and A White, White Day (Hvítur, Hvítur Dagur) (2019), captured in 2-perf on Kodak 35mm film. Pálmason picked up awards at many film festivals around the world for Winter Brothers, and von Hausswolff won the Camerimage 2017 Best Cinematography Debut Award for her work on the film.
“Hlynur and I were contemporaries at film school, where I shot his short films. I knew about Godland as early as 2014, when I received a script from him just after I had graduated,” she says. “We talked on-and-off about this film during our time together filming Winter Brothers and A White, White Day. What I like about working with Hlynur is that the visual language we built together during our film school days is the language we continue to work with. Our goal is always to try to find a simple, truthful way of expressing the story, and each film takes on its own temperament, look and sound, as we slowly work our way into it.
“But you also want to evolve with each project in new ways and contexts, such as the 360-shots for example. We always aim to take a new step towards even crazier and more demanding setups than our previous films.”
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