![]() Most importantly, the script by Kári and his co-writer, Rune Schjøtt, gracefully treads that very risky territory between the offbeat and the naturalistic. He shoots quirky angles in high contrast back-and-white, but every shot is about something even his flourishes have purpose. Kári's sense of the visual and the aural (he clearly cares a lot about sound) is very hip but always elegant. The two leading men, in particular, are understated and yet deeply human. Every member of this cast, down to the most peripheral supporting role, is terrific. So begins a loser's love triangle which by the end of the film has very gracefully become about something else: the possibility of elusive, fundamental personal change, both for the better and for the worse. Immediately after, Daniel discovers that this chick is tripping on psychedelic mushrooms, casting some doubt on her romantic declaration, and he aids her in getting home. The story gets underway when these two guys visit a bakery and the beautiful woman behind the counter (Tilly Scott Pederson) spontaneously declares her love for Morfar, who is so taken aback by her expression that he runs away. Morfar (Nicolas Bro) is Daniel's only apparent friend, an overweight dude who works in a sleep clinic and maintains aspirations of becoming a soccer referee. This is a comedy, though, and appropriately, Daniel is a lovable loser. He's broke, lazy, irresponsible and dorky. ![]() Daniel (Jakob Cedergren) is a graffiti artist who probably embodies the term loser more fully than anyone you have ever met. Dark Horse (as it was called at AFI Fest in Los Angeles) is a very funny, stylish, and genuinely touching comedy in the vein of Jim Jarmusch's early films, albeit livelier and less adamantly cerebral. ![]() I never did get around to seeing Dagur Kári's first film, Nói albínói, but now that I've seen his second, I'll make it a priority.
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