When we first meet Inga (a brilliant Arndís Hrönn Egilsdóttir, in a star-making performance), she is midwifing a calf, in the middle of another back-breaking day on the small, nearly bankrupt dairy farm she shares with her husband, Reynir (Hinrik Ólafsson). She is one of many hard-working farmers in her region who work under a bureaucratic co-operative that, having fallen out of the control of its farmers, operates as a monopoly, pushing her and her community deep into debt. After Reynir’s sudden and suspicious death, Inga learns the true extent of both her powerlessness and her late husband’s involvement with the co-op’s schemings. With an eye to the future, and with no other option, she aims to chip away at the co-op’s domination.
When we first meet Inga (a brilliant Arndís Hrönn Egilsdóttir, in a star-making performance), she is midwifing a calf, in the middle of another back-breaking day on the small, nearly bankrupt dairy farm she shares with her husband, Reynir (Hinrik Ólafsson). She is one of many hard-working farmers in her region who work under a bureaucratic co-operative that, having fallen out of the control of its farmers, operates as a monopoly, pushing her and her community deep into debt. After Reynir’s sudden and suspicious death, Inga learns the true extent of both her powerlessness and her late husband’s involvement with the co-op’s schemings. With an eye to the future, and with no other option, she aims to chip away at the co-op’s domination.
“This rousing crusading drama plays like ’Erin Brockovich‘ meets ‘All Creatures Great and Small.’”
Time Out
“Audience-pleasing and endearingly modest. ‘The County’ is full of feisty female energy and imagery, and sprinkled with rousing ‘you go girl!’ comic moments.”
Variety
“Pitched somewhere between a personal drama, a bone-dry black comedy and a sociopolitical thriller 'The County’ blends elements of heartfelt tragedy with absurdist comedy, conjuring a humanist portrait of life in which community and loneliness coexist in a landscape of contradictions – geographical, personal, and political.”
The Guardian
Toronto International Film Festival
2019