Also, audience will realize in the halfway that the film has been subtly and unswervingly shifting its preference from the usual subject - the one who struggles with his sexual orientation and gestates an unspeakable affection towards his best friend - to the unknowingly desired, a heterosexual boy who can playfully joke about homosexuality, but the fact that his best friend, with whom he spends every day, playing and messing around, is secretly in love with him, has completely eluded him, until something bad happens and he becomes the last one to know. As any boring teenagers stuck in a hamlet before the circulation of Internet and smart phone, they arrange secret sleepover, play truth-or-dare until Kristján becomes a killjoy when Thor and him share a platonic kiss, a warning sign too big to ignore, and inevitably they attempt boy-girl intimacy, but a self-conscious Kristján bluntly flinches from Hanna's advance while Thor successfully scores with Beta. Nevertheless, impelled by nascent sexual awakening, curiosity or even boredom, Thor tentatively chases local gal Beta (Valsdóttir), and naively thinks they can form a secure rectangle of two pairs, him and Beta, Kristján and Hanna (Njálsdóttir), Beta's bestie. Thor and Kristján are thick as thieves, yet physically, the latter is in full-blown physique, tall and robust, while the former is vexed by the fact that his pubic hair has yet to sprout. There is no one single second taking us away from the placid community, so first-timer Guðmundsson enlists famed DP Sturla Brandth Grøvlen to majestically singles out Iceland's unique coastal landscape and topography to an effect that it effectively looms large as a wordless character breathing menace and bleakness within spitting distance, which is aesthetically enthralling in its own terms, especially for us, armchair sightseer. HEARTSTONE patiently limns a poignant coming-of-age crisis between two 14-year-old boys Thor (Einarsson) and Kristján (Hinriksson) in a remote fishing village with admirable unpretentiousness and sensitivity, only if its 129 minute length could have been pared down into something more coherent to deaden a tinge of fatigue instigated by its monotonous locale and milieu. First feature from Icelandic director Guðmundur Arnar Guðmundsson, this year Venice's Queer Lion award receiver, which also competes in the Venice Days category.
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