White night wedding is a story about love, friendship and nature. Focusing on the loss of love between Jon and Anna (his first wife who is now deceased) and Jon's new love with Þóra. Coming up to his new wedding, Jon is haunted by the memories of his old wife, and finds that life is not all that different with one woman instead of the other.Love is woven through almost every character in this story, but produces radically different results. Naïve, young Þóra is completely blinded buy her love of Jon. She feels it is her duty to "fix" him, viewing him like a rickety house that she needs to restore to tip top shape. I believe she believes that she truly loves him, but will find much the same road ahead of her as his first wife. In the end, Jon is not all Þóra wanted and she is left to deal with the choices she has made. Jon himself struggles with love, but the world-weary man does not seem to have had much to begin with. At the beginning, we are presented with a seemingly loving man and a miscommunication between him and his wife. Jon seems to crave love as much as his wife needs it but seems to be incapable of giving it. We see this when his wife is distraught from hitting a bird and he is unable to give her comfort. After she had frustratingly hung up the phone, He continues to talk to the phone, saying 'dear' and 'sweetheart'. Though he may be putting on a show for the man in his office, it is most likely a show for himself and his ideals of love.There are two characters in this film that put their love of money before their love of people, Sísí and Séra Ólafur. It is not clear how much Sísí loves her husband, but what is clear, is that Sisi loves money. She lives for money and cannot understand those around her who do not do the same. She loves her daughter, and want acceptance from her, but tries to do so by giving her 'gifts' and the feast. This insults her daughter who wants nothing to do with money and who knows her mother cannot possibly understand her love for Jon. Séra Ólafur is entrapped by his love for money as seen by his new bike helmet and his frequent trips to the offering box. Séra seems to have pestered the small community of Flatey by the small continual joke the residences make about the money needed by the church. Séra's love for money shines through when on the day of the wedding, he beseeches god to not, make him do this wedding since he does not believe in it. After finding all the money flying around outside, he seems to have found his belief and goes as far as getting carried out to see to make sure that the couple gets married.Friendship is another major theme that is explored. The friendships between men mostly, since the women in this film all seem a bit unstable or blindly devoted to love. This friendship of the male characters is built up slowly in the film, and comes to a culmination on the white night, where Sjonni, Börkur, and Matthildur (tied there by her infatuation with Börkur) set up a late dinner for Jon. They all have a wonderful time drinking as Lárus shows up to provide Jon with the money to keep Sísí happy. Jon and Lárus have a heart felt conversation in which their friendship and respect for each other can really be seen. Nature is another main theme, specifically explored with Anna (Jon's dead wife). The first introduction the audience gets of Anna is when she is driving through the city looking anxious. This scene is cut with birds (specifically swans) that are flying around the city and landing in ponds. These two separate scenes literally collide when Anna hits a bird that had flown in front of the car. Anna is clearly upset by this, and it seems to be the turning point for her, where she decides to leave the city. While watching this, I viewed birds as Anna's spirit or emotional self. Clearly she cannot survive in the city and therefore must leave to be back to where she was from originally. The birds appear frequently on the island, and at very strategic times. When Þóra talks with Jon about leaving Anna, the birds in the background fly up in a great flock. When Jon and Þóra have sex, the thrushes are noisily disturbed and instantly Anna knows something is very wrong. Anna seems to be much happier and better on the island, connected with what she knows and the ocean, but Jon seems incapable of seeing it. When Anna kills herself, she takes a sinking boat into the ocean going back to nature and what she considers to be the mother of nature. While this film weaves interesting connections between love, friendship, and nature, the main character is extremely hard to identify with. He is ultimately unlovable, which might fit in with his struggle to love, but he has two women that are completely devoted to him. This works with Anna since the audience assumes that at one point he was a better husband from the comments that she makes. But with Þóra this intense infatuation makes her seem stupid and dull. I found the interactions of almost everyone in the story more dynamic and interesting than the relationship between Jon and Þóra. Overall though, it was an entertaining film that was both lighthearted and dark, keeping you glued too it trying to decipher fact from fiction.

White Night Wedding follows the life of Jón during the day leading up to his second marriage. Jón is an ex-professor living on the small island of Flatey, Iceland. The opening scene sets up the film's light attitude, but also tells us of Jón's controversial past. In the beginning of the film, we learn that his ex-wife, stricken with manic-depression, convinced him to leave his job as a professor in Reykjavik and move to Flatey, where she is from. We later learn that once they moved to Flatey, Jón became close to a girl that was his student at university. As Anna, Jón's first wife, realizes that she is losing her husband, her mental state becomes worse and worse. The director, Baltasar Kormákur, uses Jón's flashbacks to his previous marriage to explain to the viewers what happened in Jón's first marriage and what led him to marry Þóra. These flashbacks, tinted with different lighting to differentiate them from the present, only tell the viewer a small part of the story at a time, so they are unaware of many important details until the end. This leaves some excitement and keeps the viewer watching. While I liked the excitement, sometimes the flashbacks were not clearly a flashback and confused me. Kormákur sometimes used a specific cut style to signify that the upcoming scene was a flashback, but other times the film would jump cut to the scene without telling the viewer if it was in the present or in the past. This was especially confusing at the beginning of the movie, but once I was used to the style of the film, I became more prepared for scenes to be set in the past.One of the main themes we can see in the film is money. Iceland's economic state is not very strong, so money is a common theme in Icelandic films. When Jón and Anna move to Flatey, Jón meets Börkur, who dreams of building a golf course on the island. Börkur convinces Jón to invest in this golf course, including cutting a deal with the family of his future bride, Þóra. Jón rents land from Þóra's family, but does not pay for it. This deal is central to the plot, as Þóra's mother continuously nags Jón and Þóra throughout the film, threatening to call off the wedding if he does not pay her. Þóra's father is frustrated by his wife's obsession with the money and secretly gives money to Jón to be used to pay for the land. However, Jón passes out outside and the money blows away to be found by the island's priest. The economy of Iceland clearly impacts the lives of those on the island and leads Þóra's mother to worry more about money than her own daughter's wedding.While dealing with his fiancé's mother and her obsession with his debt, Jón is also feeling more and more guilty about the events leading up to his second marriage. We learn from a few flashbacks that Jón cheated on Anna with Þóra and when Anna caught them, she rowed a leaky boat into the sea and drowned herself. As we get closer to the wedding, Jón becomes increasingly quiet and distant from Þóra. At the wedding, Jón asks Þóra to step outside with him and calls off the wedding, telling her that he does not want to drive her to madness and death as he believes he did to Anna. She begs him to stop thinking that way, saying that she will make him happy and help him until the day she dies. During this argument, the entire wedding party comes out to watch the unfolding drama. Jón runs to the sea and gets in the same leaky boat that Anna used to drown herself. He prepares to kill himself the same way until Þóra and the rest of the wedding party make it to the sea. Þóra swims to him and they decide to get married in the sea. The priest is carried out and they take their vows, seemingly ending the movie on a positive note. Although Jón has had a hard time with his marriages and is unsure about marrying again, Þóra seems to have saved him and made him happy. However, the final scene tells us that that is not how the marriage works out. Ironically, Jón becomes the satisfied married man, while Þóra seems to become the one sneaking off and looking for something better, as Jón did with Anna. As cheating was a central theme in the plot of the film, this seems to be a sort of poetic justice for what Jón did to Anna and tells the viewers that cheating is usually not the best way to start out a relationship.

Baltasar Kormakur's White Night Wedding offers a compelling glimpse into the pursuit of dreams and happiness through the story of a couple's simultaneously tragic and humorous wedding night. By weaving together stories from different times and perspectives, Kormakur shows the full range of human emotion, from terrible despair and loss to finding new love and dreams for the future. With its expert balance of mainstream film conventions with the realistic and at times blunt nature of Nordic film, the film was generally met with success. It received 7 Edda awards and was also Icland's entry for the foreign-language Oscar in 2009. The plot revolves around Jon, a 40-some philosophy professor, on the eve of his second wedding. The first scene portrays Jon as apathetic and uninterested in his young bride Thora, as the film progresses his behavior is slowly justified as we learn about the tragic events of his past marriage that haunt him. The film blurs past and present as the scenes alternate between the comedic escapades of the groom's best friend's drunken late-night activities, Jon's conflict with Sisi (Thora's mother), and flashbacks of Jon's struggles with his late wife, Anna. One of the film's most intriguing aspects stems from the delicate way that Kormakur stretches and obscures the passage of time. The "White Night" of the film's title refers to the day of the year when the dark of night is shortest. This creates a strange visual experience for the viewer: although the primary events of the film occur over the course of night, the constant presence of the hazy Icelandic sun obscures our reference point for the passage of time. Because of the importance of the impending wedding the next day, the viewer feels a heightened sense of discomfort upon this temporal confusion. Additionally, Jon's flashbacks further disrupt our sense of time. The transitions between past and present are subtle, and with significant overlaps in setting and characters, the viewer is not always aware in what time or space the events on the screen are taking place. Overall, this temporal obscurity enhances our understanding of the pervasive emotional turmoil to which Jon, Anna, Thora, Sisi, and many of the other characters are subject. Obfuscating our sense of time in the film is just one of many ways that Kormakur evokes a strong emotional response from the viewer. There is significant contrast between the emotions of the past and present events portrayed in the film. The humorous exploits of Jon and his friends as they gallivant drunkenly through the town are strongly juxtaposed with vignettes of Jon's past life. We acutely experience Anna's severe depression, the priest's anger and frustration, and Sisi's domineering abuse alongside comedic dreams of a golf course gone awry, the passion of new love, and whimsical mountaintop serenades. Through this juxtaposition, we experience each set of emotions all the more profoundly. The breathtaking setting of the island of Flatey perpetuates these emotions well: a rather garish lighting of the bright island hills somehow fits the essence of both the raw unhappiness of the past and the inescapable imminence of the immediate future. The high contrast between land, sea, and sky captures the high contrast of the character's emotions and our responses to those emotions. The wide variety of characters in the narrative allows us to experience the full range of human emotions, and is a source of great entertainment and poignancy in the film. Through mere glimpses into the lives of these characters, the audience feels a deep sense of compassion and understanding of each of their walks of life. One of the film's most lovable characters is Lasus, Thora's father. Though dejected by his domineering wife, Lasus find solace in music and entertaining Flatey's visitors. However, Lasus' jovial spirits are bittersweet: he has left behind his dream of becoming an opera singer. A shot of his plump, naked body bobbing alone in the sea as he sings a lonesome folk tune profoundly captures the essence of this emotionally duality. Another highlight of the island's residences is Malla, Thora's delightfully contrary sister. Though Malla is a social misfit and is constantly chastised by Sisi, she too finds a form of love and learns to have the gumption to triumph over Sisi's bullying. This ramshackle bunch of eccentric characters allows us to experience the entire spectrum of human emotion that is so critical in the film. Their wants, desires, and dreams fulfilled and unfulfilled tell a tale of life's many journeys, good and bad. Like the sun's perpetual trek across the sky, we are at times unable to change the course of events that befall us. Love and life is at times lost. However, life is not lived with the arrival or disappearance of night and day, but rather in the spaces in between: in the white night, in the perpetual and unavoidable journey that life itself entails. Overall, White Night Wedding offers a painfully honest tale that wonderfully captures the countless complexities of the human journey.

"If your happy for more than ten minutes than you're an idiot." The character Jon Johnson described this philosophical advice to his class during the end of the movie and the quote fits perfectly. Throughout the movie we take up the aspect of love in marriage and like the quote the happiness, love, and commitment was fleeting. The best line in the movie lied in the notion that it is not love or happiness themselves which are most rewarding in life; rather it is the pursuit of these which is the most rewarding. The film, White Night Wedding explores this pursuit which in the process renders a variety of dismal outlooks on life and its potential for true love or happiness; yet for all these dismal outlooks the movie is quite interesting and somewhat hilarious taken as a whole.The premise of the film revolves around the main character Jon Johnson and his relationship to his wife Anna. Both, living together in Reykjavik, are dismally set in a routine of perceptual avoidance of one another – Jon refusing to take phone calls from Anna while teaching and Anna experiencing a worsening of her mental condition. In order to both remedy their marriage and better themselves they decide to move to a small island off Iceland from which Anna was originally from. This is where things began to get a little dicey both morally and technically. Jon having uprooted from his teaching position finds himself at odds with Anna and portrays a feeling of being trapped by Anna's condition and her perpetual wants and needs of him while he portrays that he gets nothing in return. With no work to divide his time from Anna, Jon invests in a nine hole golf course; the point up till now reflecting how relationships can become strained by the needs and desires of both parties especially when the initial honeymoon stage is over. Jon then begins to court and later has a affair with his former student Thora – Anna witnesses the affair and presumable kills herself – leaving Jon to marry Thora and start the cycle over once again.The plot though somewhat unique is an old story in divorce and cheating scenarios in which one member of the marriage (Jon) feels that he is sacrificing his life and work for Anna and her condition, while Anna feels that Jon has become increasingly distant and no longer loves her. This clash is culminated after Anna witnesses Jon having intercourse with Thora, Anna dumps her medication and proceeds to drag seaweed into the house and demands that Jon makes love to her; Jon, presumably more shocked by her actions and behavior declines and thus Anna appears to sail out to see to end her suffering. Though much quicker than a divorce, the act leaves Jon in the arms of Thora who vows that she will help him recover himself if it's the last thing she does, however, in the end the two – married – appear to be in the same place as Anna and Jon were at the beginning of the film. The implication of love and happiness being that it is found only in the chase and never lasts beyond that time.The question of marriage as an institution of benefit is only half the question presented within this film, the broader question and concern questioning whether happiness and love can even be found in life in a permanent means. Whether looking at Thora's parents and their lost dreams – her father wanting to be a famous opera singer – or Anna and Jon's relationship marriage as an institution seems to be a compromise which leaves both parties disappointed with one another and at odds than promising any form of happiness or love. This is one of the most dismal aspects of the film, yet even worse is the notion that love and happiness in anyone's life is ultimately fleeting. The film ends with the professor explaining this philosophical notion to his class, yet it is up to debate whether he has learned his own lesson. The question of which brings us to the final thought on this film, is someone morally obligated to leave a relationship which they are unhappy within? With the perception from the film being that happiness and love are fleeting fancies of pursuit rather than obtainable goals it would appear that the answer to this question is no. However, the film in Thora's persistence that she would recapture Jon's life if it was the last thing she did and Thora's father's perpetual longing to be an opera singer the question remains. To better the life of another and to better one owns life seem to be the two sides of this coin. Whether for better or for worse we as a species and as portrayed in this film seemed destined to fall in love and be happy in the process, yet this love and happiness is ultimately our curse as they are fleeting with time.