Ivalu (Nivi Larsen), a young, charming, and charismatic girl has gone missing–and the only person that seems to care is her younger sister Pipaluk (Mila Heilmann Kreutzmann). Their grandmother is unable to help, and their father (Angunnguaq Larsen) is unwilling. As Pipaluk goes in search of her sister, powerful memories will surface, and she will be faced with the reality that this may be more than just a missing person’s case.
An ominous raven is the centerpiece of Ivalu, and it ultimately acts as the guide for viewers. The raven represents loss and bad omens, but it also acts as a way to access the afterlife. The raven, more than anything else in Ivalu drives the film forward, guiding not just the viewers, but Pipaluk as well. Without the raven, without its insight, the film never progresses, it never finds its way, and it never concludes in an appropriate way. That’s not to say that Ivalu lacks content in other aspects of the film, because that’s far from true–but the raven is the most prominent source of success.
Both N. Larsen and Kreutzmann play significant roles in the film. They are young, innocent looking–and they are tasked with creating deep, dark emotions throughout the course of Ivalu. The two girls are brilliant. They are able to quickly shut off one emotion and transition to a new one, completely opposite from the place in which they were just present–and that sees the power of Ivalu continue to develop throughout, enticing viewers, and constantly giving them something to look forward to. Emotion ranges from grief to elation–and those are difficult emotions to balance, because they are so drastically different. The two girls find that balance quickly, however–and it exists throughout the film’s entirety.
The name Ivalu is synonymous with strength–and I think that’s important to note when discussing what it is that Writer-Director Anders Walter and Writer Morten Dürr are trying to convey throughout the course of the film. Giving this missing girl the name Ivalu is imperative to the narrative, and it’s imperative that viewers understand what the name means. That knowledge, knowing it means the words “tendon,” “thread,” and “sinew” allows viewers to better understand the character and appreciate all that she struggles with. This is a simple addition to the film–as she could have been called anything, and the reality is that the story still would have worked. However, this attention to detail creates another layer, one in which viewers enjoy dissecting–and Ivalu thrives as a result.
The themes present throughout Ivalu are difficult to stomach–from lost children to assault, the film explores some of the darkest depths of the harsh realities that exist in the world. The further along the story moves, the darker the subject matter becomes. The story parallels Pipaluk’s journey, and as she sinks deeper into a depression, the content follows along. As the themes develop so does Pipaluk–and having viewers on one very specific path makes it easy to remain focused and to follow along with Ivalu.
Ivalu is full of passion that never relents, and it never gives viewers a reason to lose interest or veer from what’s occurring on screen. Viewers are always pulled in the right direction–along with Pipaluk, and her journey is both noble and heartbreaking. Every minute of Ivalu is more important than the last, and as the film progresses, viewers fall deeper and deeper in love with it.
Directed by Anders Walter.
Written by Morten Dürr & Anders Walter.
Starring Mila Heilmann Kreutzmann, Nivi Larsen, Angunnguaq Larsen, etc.
⭐⭐⭐⭐⭐⭐⭐⭐/10
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