Who can say for sure why a sight as melancholy as 14-year-old Balli (Áskell Einar Pálmason), the unwashed, ignored offspring of a harmful stepfather and a to a great extent missing mother, motivates a defensive impulse in certain children, and an awful one in others? Who can say for sure why, now and again, a defender would himself be able to turn into a domineering jerk? Guðmundur Arnar Guðmundsson’s wonderful and awful second element flaunts an exceptional adolescent gathering cast. However, practically more than it stars any of them, it stars the ebbs and expands of an inevitable tradition of heteronormative male brutality, that fills childhoods with dull, disgraceful corners that no pale, splendid sprinkles of Icelandic sun can at any point warm. Eventually, young men will beat young men.
Balli is escaping one more day of friend embarrassment and grown-up carelessness at school when three of his classmates find him and direct a whipping so terrible it makes the nearby news and powers him to wear a deforming plastic veil while his facial cracks mend. Another cohort, Addi (Birgir Dagur Bjarkason), watches the news report at home with his New Age-y mother Gudrun (Aníta Briem) and disregards her anxiety for the kid. However, the following day, when Addi occurs on Balli getting smashed alone adjacent to a neglected shed, he makes the adolescent kid likeness a suggestion of fellowship, and bums a cigarette. A little motion, to make Balli sheath his uncovered wrist and set aside the razor blade.Even all the more startlingly, Addi appears the following day at Balli’s foul, overview house with his companions Konni (Viktor Benóný Benediktsson), a major thuggish chap privately nicknamed “The Animal,” and Siggi (Snorri Rafn Frímannsson), a meager, brazen person who is hesitant to acknowledge Balli into the pack. Until, that is to say, Addi brings up that with Balli around, Konni won’t single out Siggi to such an extent. Indeed, even inside a gathering as close as this, there are ordered progressions, generally founded on might being right.Addi portrays Konni as the head of the group, yet Guðmundsson’s screenplay, so exact at getting the assaultive language that is employed like a guarded weapon even between dear companions, puts Addi at its middle: brilliant and attractive, with something of a youthful Ryan O’Neal regarding him. Addi’s is the voiceover we hear, and Addi’s are the fantasies, and soon, the waking visualizations that give “Lovely Beings” its inconspicuous, underplayed edge of wizardry authenticity. Addi is the most composed of the young men, logical due to the group of four’s daddy issues, his are the most un-damaging: His dad is just missing since he and Gudrun isolated. Be that as it may, Addi also has his issues. Not least, these alarming dreams which seem to give trustworthiness to his dippy mother’s confidence in extraordinary energies – convictions Addi himself had sneered 100% of the time at – and which propose that as terrible as they all realize that things generally will be for Balli, they could really be going to deteriorate.