Sundance 2025 – My Father’s Island ★★★

Released: TBC (Sundance 2025)

Director: Vladimir de Fontenay

Starring: Woody Norman, Swann Arlaud, Tuppence Middleton

The wilderness is a challenging environment to be in. Not only for the physical aspects, but also for the personal trials that arise when there’s nothing but yourself. My Father’s Island, the latest feature from writer-director Vladimir de Fontenay, sees teenager Roy (Woody Norman) attempt to reconnect with his estranged father Tom (Swann Arlaud) out in the Norwegian fjords. 

Their relationship has essentially been non-existent since Tom was divorced from Roy’s mother (Tuppence Middleton), but Tom proposes an adventure to his son: live on the titular Sukkwan Island for a year, a place where humankind has barely—if ever—touched. It becomes quickly apparent that surviving in the Nordic winter is no walk in the park, especially when father and son are woefully underprepared. But as they bond, so too do they individually unravel. 

Technically speaking, it’s a striking piece of work from the very first frame. Amine Berrada’s cinematography captures the stark beauty of the frozen landscapes, but the sound design (credited to Matthieu Villien, Damien Tronchot and Kath Pollard) truly stands out. You can almost feel the harsh winds cutting into your skin. The costume design, production design and makeup all combine to create a natural lived-in environment with the lonesome cabin the two leads call home.      

The heart of My Father’s Island are the terrific central performances. Norman, most memorable for his star-making turn in C’mon C’mon, shows a range we haven’t seen from him yet. There’s a physicality to his role as he lives in the harsh wilderness, yet there is emotional vulnerability in quiet moments. Roy is a believable teenager transitioning into manhood. Arlaud is unsurprisingly captivating as he has a lot to chew on: Tom is an imperfect father who is as endearing as he is infuriating, with an internal darkness bubbling to the surface. There’s a lot to like here, even if the dialogue can be heavy-handed at times.

Unfortunately, the narrative issues don’t stop there. My Father’s Island is fifteen minutes too long, with a second half that drags in parts as repeated points in the film’s themes and character arcs arise. The single biggest issue is with the ending. The final few scenes act as one big bait-and-switch, concluding with on-screen text that reveals the true meaning and meta-story of the film. With the context provided in the very last frame, the filmmaker’s hearts are in the right place with their approach but it simply does not translate well on screen. 

My Father’s Island, in the end, is an ambitious project that doesn’t quite succeed. A winning mix of visceral technical work and absorbing performances can’t save a doomed narrative that frustrates rather than inspires.