Ari’s development starts to extend the pic’s avian representation to limit with something of a constrained expulsion from the home, as his single parent packs up their Reykjavik home and leaves for Africa to administer an examination venture. Not able to go with her, Ari is sent to live with his alienated father Gunnar (Ingvar E. Sigurosson), in the secluded Westfjords landmass of his initial childhood. Following six years’ nonappearance, he’s unnerved to discover Gunnar in something of a congested juvenile state himself: Drinking excessively, working too little and misusing the philanthropy of his own mom (Kristbjorg Kjelt), in whose home he now lives.
It’s not really an upbeat gathering, and Ari’s new surroundings despite its ecstatic waterfront setting, imposingly encircled by overgrown mountains doesn’t demonstrate substantially more inviting outside the irritable dividers of the family home. Departed youth buddy Lara (an unobtrusively winning Rakel Bjork Bjornsdottir) makes agreeable suggestions, however Einar (Benedikt Benediktsson), her possessive knucklehead of a b.f., accurately faculties a more profound current between them. Einar’s open antagonistic vibe debilitates the new child’s toehold in an officially limit group of friends, however Ari makes one firm companion, Bassi (Valgeir Skagfjord), on his generally depressing summer work at the nearby fish industrial facility. Just singing seems to offer him an outlet of otherworldly discharge however it goes entirely unmentioned outside chapel.