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There was things we wanted to do, but we couldn’t push them.” “If they feel threatened or stressed, they start behaving not like themselves. “Animals have a strong intuition,” Rapace says. “They’re just totally themselves, feeling safe.” “That’s the reason why they’re so believable,” Jóhannsson tells Inverse. Jóhannsson credits his many farmers and animal handlers on set to help him “direct” the animals.
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The terrifying “Ram Man” isn’t the only surprising thing in Lamb.įilmed during the last week of lambing season in Iceland, the movie features real animals, from sheep to dogs and cats, who appear onscreen with human behaviors like confusion, suspicion, anger, and pain. The production of Lamb included more animals than there were onscreen actors. She is back alive and awake.” How Lamb brought Noomi Rapace back to her roots That’s why at the end, she doesn’t come after the Ram Man. You know it’s going to be over when fall comes,” she says. “It’s almost like a love story or summer fling. She adds that Maria lives with Ada “on borrowed time.” They will avenge you and come after you.” And if you cross that line and take something that is not yours to have, nature will hit back. “I was always aware of things that are not there. “My grandma always said, ‘Don’t provoke the elves.’ We have to be respectful to all creatures, even ones we don’t see,” Rapace explains. Rapace herself was raised on a farm in Iceland, where her grandmother imparted folk wisdom to her. In a separate interview with Inverse, which took place the day after the Q&A, Rapace elaborated on how Maria is “freed” at the end of Lamb. But the baby doesn’t belong to her, as she eventually finds out the hard way. In Lamb, Maria (Noomi Rapace) raises a hybrid sheep baby as her own. It’s extremely painful, but she is there.” That’s why in the end, her pain is released. “ takes something that is not hers because she needs to heal,” Rapace said, “She doesn’t see him, but she knows.
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It’s not necessarily evil it’s simply seeking justice for itself. Lamb has no polar bear slaughters, but the monster of Jóhannsson’s dreams manifests through anger in the film. “I went through one, and it was about huge rams eating polar bears.” Before embarking on the Lamb press tour in the U.S., his mother dropped off a book in which a young Jóhannsson documented his dreams. “It’s not a joke,” Jóhannsson said at the Q&A. The Ram Man was born out of Jóhannsson’s imagination, who said at the Q&A that he once had a nightmare about a giant ram. Rapace adds that the “Ram Man” represents nature's wrath and its anger towards humans who exploit the earth for greedy purposes. She somehow always knew the Ram Man and that Ada will be taken away from her.” “She knows only be there for as long as she needs. When Ada is born, it becomes a gift, like oxygen for her body and soul,” Rapace said. “I think always thought that Ada wouldn’t stay,” Rapace said at the Q&A. In an interview with Inverse, Jóhannsson and Rapace discuss the making of Lamb, which includes the live births of real sheep on camera, and the meaning of the movie’s shocking, nightmarish ending. When a baby lamb is born with disturbing half-human physiology, Maria and Ingvar choose to raise the child on their own, all while refusing to acknowledge that the child, named “Ada,” is not their own. In Lamb, Noomi Rapace ( Prometheus, Bright) stars as sheep farmer Maria, who, with her husband Ingvar (Hilmir Snær Guðnason), is grieving the loss of their child. He adds, “I think it’s not interesting to know what I think about it.” I feel everybody has to take their own understanding of it.” But it can stand for nature it can stand for so many things. “Even I’ve changed my mind after watching the film so often. “It can stand for so many things,” Jóhannsson tells Inverse about his movie’s ending. And it’s in these wide-open fields of dull greenery that something terrifying stalks the human characters. With more animals seen onscreen than human actors, Jóhannsson’s debut feature film explores parental grief and loss amidst vast Icelandic farmlands. Few movies this year are as quietly captivating as Valdimar Jóhannsson’s minimalist supernatural horror movie Lamb, released in the U.S.