Following her husband’s death, Inga is faced with the impossible challenge of saving her dairy farm from bankruptcy. But her denunciation of the mafia practices and the monopoly of the local cooperation only appears to get her into even more trouble.
It is not difficult to empathize with the Icelandic Erin Brockovich.
The problem is that Hákonarson makes his hopeful portrait of women needlessly stiff by economizing on humour and emotion, and his style is sometimes more cheap than sober.
Not full-cream milk.