There are numerous magical moments in Rúnar Rúnarsson’s moving mosaic “Echo,” though perhaps none more powerful than that instant when we as viewers allow ourselves to jettison expectations of narr…
,” though perhaps none more powerful than that instant when we as viewers allow ourselves to jettison expectations of narration and let the director’s composite vision bury itself snugly deep within. It might take a bit of time to reach that point — there are 56 scenes, theoretically unconnected, and for a while we wait for some character to return, some bridge to be revealed.
It takes a bit of time to adjust to all these vignettes and realize that their accumulation is what builds the sense of time and place. Some feel as self-contained as a humorous sketch, such as an angry woman misjudging a man frustrated by traffic, while others are intriguing peaks into more profound situations, like an adolescent girl being showed up at the piano by the daughter of her father’s new girlfriend.
Rúnarsson’s previous two features, “Volcano” and “Sparrows,” with their more traditional storytelling trajectories, also captured a sense of place and a society, troubled, ruminating and on edge, but with “Echo,” he’s brought together a panoply of types and situations that create a grander picture, broad yet like a collective chamber piece of a nation striking notes of melancholy and loneliness together with more hopeful chords of commonality and compassion, where small kindnesses act as...
The crew is formed of Rúnarsson regulars who rise to the formal challenges, resulting in a film that never sacrifices visual pleasures. Sophia Olsson’s camerawork is rigorous yet rich, while editor Jacob Secher Schulsinger miraculously finds a way to make it all breathe together, even at one point having fun by cutting from a children’s Nativity pageant to a women’s bodybuilder pageant. The large cast is mostly formed of amateurs, their naturalism part and parcel with the film’s humanity.
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