The spoiler free version – Natatorium is an engaging psychological thriller about a family’s troubled past resurfacing upon the injection of fresh blood (pictured below).

And now that we have gotten that fast-forward urge out of the way, it’s time to properly look this film as the well-paced art-house character study it is. Natatorium oozes style from the opening scene and promises to unravel layers of meanings and secrets.

The whole story takes place in the confines of a mid-century concrete house. Had it not been for the oppressive atmosphere, one might well have felt quite comfortable browsing for the sleek high-end wares as if shopping for Icelandic souvenirs in Rammagerdin on Rainbow Street. Because of the modern set design, the significance of out-of-place things – an altar here, an old photo there – stood-out immediately. The pool in the basement, for which the film is named, is the wonky central. And every element of the film implies that the water in the house is sinister.

Despite the many unfinished hints, any trace of actual horror is left mostly to the imagination. This film is dedicated to the inter-personal struggle beneath the surface, and stays literal to this onto the last scene. The cast can be split into two camp, one includes an overly eager grandpa, an emaciated homosexual uncle, and a successful but cowardly father. And on the other team is the blossoming teenage starlet, the independent aunt and apothecary, and the matriarch. This seemed to have been set up to fulfill a stereotypical role reversal. Had the biological sex of the whole cast been inverted, wizards may still ignite the topics explored on tradition vs. freedom… albeit not as effectively as witches. Much of the dialogue reveals information while also inviting deeper intrigue. But at times I felt too many potential conversations were crammed into one scene.

Director Helena Stefánsdóttir, lead actress Elin Petersdóttir and author Celeste Ramos, parts of whose short story “Swim” were adapted for the film, were in attendence for the post-film Q&A. It’s a shame that the showing was tiny (<15 people) as there was clearly abundant opportunity for discussion. SxSW’s program manager did his best to lead and mediate, but when the first member of the audience to speak spewed out, “I have always found Icelandic stuff to be weird and confusing and this film confirmed what I’ve come to know,” it was a little dispiriting.

Helena lamented that, as a process of making the film, much was changed beyond recognition that she has had to reach back into her notes/script to find the original framework. Celeste noted that the original story was much heavier on death but the film is lighter and does not bludgeon the audience with it as a burden. And Elin, whose expressions were central to the film’s uncanny atmosphere, shared tricks she had for portraying the unyielding grandma. Overall, the film is beautifully made with clearly deliberate decisions in each and every corner. And while it might not resonate with a large crowd, it is a strong work with a long after-taste that keeps the brain churning.