fractured family

The gorgeous, quirky and melancholy “The Love That Remains,” from Icelandic filmmaker Hylnur Pálmason (“Godland”), opens with an exhilarating shot from inside a long, empty seaside building, from where we can see the roof suddenly wrenched off by some exterior force. As it hovers in the air above, we get to consider the two parts of this one-time whole and how the light changes inside this deconstructed space.

In one respect, that’s the whole of the movie encapsulated, as we encounter a family of five living in the wake of a separation. Visual artist Anna (Saga Garðarsdóttir) looks to assert herself while still living in the rural home she shared with her teenage sweetheart. The increasing alienation leaves fisherman Magnús (Sverrir Guðnason) living offshore on a big trawler as his hold on domestic security slips. Their kids, meanwhile — teenage Ída and twin boys Grímur and Þorgils (the trio played by director Pálmason’s own children) — exhibit a healthy absorption of the circumstances, meeting moments of togetherness with plenty of humor and spirit.

What we glean of the past comes from the fragmented present, as if we’re leafing through a stranger’s exquisitely curated album (there’s only Harry Hunt’s piano score for sad commentary). Elsewhere we see that home-cooked meals, chores and foraging excursions occasionally bring this fractured family back together. But when Magnus pushes to stay for a while, Anna firmly claims her independence.

While apart, their working lives — his at sea, hers on land — speak to a confluence of the elemental and the man-made. Pálmason, who serves as his own cinematographer (and a great one with the 4:3 framing), revels in the sweep and heft of deep-sea fishing, a seasonal trade that gives purpose to Magnus’ days and nights but also fosters an increasingly unwanted solitude. Anna, meanwhile, devotes herself to earth art, turning machine-lasered iron cutouts laid on white sheets in the open air into large-scale, rust-patterned pieces. Getting her work appreciated, however, is another matter. In one painfully funny sequence, a visiting gallerist (and gasbag) barely seems to care about her art, showing more interest in a goose’s nest that has materialized in an enclosure.

Is love another natural element susceptible to age and wear? Across a running time tied to the shifting seasons, pocked by images of breathtaking beauty, Pálmason is after a feeling that only patient observance yields: a lasting reality about the passing of relationships. One of the director’s frequent visual cutaways is to a knight-outfitted dummy the children build on a picturesque spot, lashed to a stake. It’s an indelibly amusing and heartbreaking totem, suggesting play and suffering, and eventually manifesting wounds both real and internalized. (The director’s 2022 short “Nest,” which captures the building of a tree house over a year, is a precursor to his temporal approach to this feature.)

On the heels of Pálmason’s masterful “Godland,” a 19th century colonizer epic of faith and conquest that couldn’t be more different, “The Love That Remains” nevertheless positions this filmmaker as a gifted craftsman of adult storybooks, no matter the era or scope. This is a delicate, confidently imagined fiction made with the eyes of a naturalist, the heart of a believer in family, and a sensibility with room for both the Pythonesque and the Lynchian.