Drifting in and out of these windows into sometimes charming, but often painful moments, like the ghost of Christmas present, once the film’s cadence is established the film takes on a soothing, meditative impression-though one in which it will be difficult to recall the wide variety of stories glossed over. Like a Roy Andersson film without the requisite absurdity, Rúnarsson abandons the linear narratives of his previous features Volcano (2011) and Sparrows(2015) and runs a gamut of narrative kernels (the central characters from those previous works could have fit into this panorama as well). Instead, these unrelated single shot snippets of contemporary lives in Iceland around the Christmas season results in a sometimes touching, often austere portrait of the ups and downs of a particularly prime emotional occasion. Had each of the 56 segments of Echo, the third film from Iceland’s Rúnar Rúnarsson, been helmed by a different director, it would have been an omnibus fashioned into something like Reykjavik, I Love You. The Last Word: Rúnarsson Sketches Mosaic of Modern Iceland in Varied Vignettes
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