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With precise visual poetry and surreal flourishes, The Love That Remains captures a family in quiet rupture, a tender meditation on distance, memory, and what persists.
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Original Title: Ástin sem eftir er Year of Production: 2025 Duration: 109 min Country of Production: Iceland, Denmark, Sweden, France Languages: Icelandic Subtitles: English Director: Hlynur Pálmason Cinematographer: Hlynur Pálmason Editor: Julius Krebs Damsbo Sound Design: Björn Viktorsson Music: Harry Hunt Producer: Anton Máni Svansson, Katrin Pors Main Cast: Elliott Crosset Hove, Ingvar Sigurðsson, Ída Mekkín Hlynsdóttir, Theodór Pálmason

Over the course of a year, in the vast and shifting landscape of rural Iceland, The Love That Remains follows Anna and Magnus, once teenage lovers, now grown and quietly drifting apart. As Magnus spends long periods at sea, Anna stays behind with their three children, navigating the subtle rhythms of domestic life and emotional separation.

Hlynur Pálmason blends observational realism with lyrical, dreamlike moments, crafting a richly textured portrait of a family in transition. The film pulses with a tactile sense of place, sculpted by seasons, sound, and the physical traces of a shared life slowly fading.

Even as love fractures, it echoes in gestures, rituals, and memories,  in the way children play, in unspoken glances, and in the ordinary persistence of care. Both deeply intimate and quietly epic, The Love That Remains is a cinematic meditation on how love endures, even as it changes form.

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Director: The Love That Remains

Hlynur Pálmason (b.1984) is an acclaimed Icelandic filmmaker and visual artist. He graduated from the Danish National Film School in 2013, and his feature Winter Brothers (2017) won 4 awards at its world premiere at the Locarno Festival. His third feature film, 'Godland' (2022), was selected for Un Certain Regard at the Cannes Festival. The Love That Remains also premiered at Cannes in 2025.

For me, it’s not enough to only have narrative—it’s very important that you also have a form. I have a lot of narratives that I’m interested in, a lot of stories, a lot of characters, but then I also have a lot of forms and concepts that I’m interested in. When I can feel that it’s more than just a narrative, or more that just the form, I begin working on a film. A couple of years ago, we bought a camera. I would have it in the car and film what’s around me: things that weren’t preconceived or constructed. I wanted to capture fleeting moments that felt magical, like a golden sky. Or I would film my old studio being torn apart, watch the footage and then react to it. That’s how this narrative started growing.
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