The result of an Icelandic filmmaker drawing inspiration from both Kurasawa and Shakespeare manifests as a very lengthy, experimental movie. Ída Mekkín Hlynsdóttir gave a commendable performance.

My impression is that A White, White Day was striving to be a distinctive independent film, and if I’m correct, its ambitions were not quite high enough. The camera's tendency to hold on static compositions, the instances where symbolism appears—like when we observe a stone rolling down a slope, over a precipice, into the water, and along the ocean floor—all feel overly deliberate; I believe that time would be better…

The film, directed by Pálmason, may lack a detailed storyline, but it compensates with an immersive atmosphere and emerges as a thoughtful exploration of complex themes like the elusive concept of masculinity, isolation, frustration, and the potential for affection.