Touch: A Cinematic Meditation on Memory and Loss

A romantic and thrilling story that spans several decades and continents; TOUCH follows one widower’s emotional journey to find his first love who disappeared 50 years ago, before his time runs out.

REVIEW:

Baltasar Kormákur’s “Touch” is a film that oscillates between the profound and the mundane, much like the flutter of a butterfly’s wings. It is a cinematic journey that attempts to capture the ephemeral nature of memory and the relentless passage of time. Yet, in its ambition, it sometimes stumbles, leaving the viewer both mesmerized and perplexed.

The narrative follows Kristófer, an elderly widower portrayed with quiet dignity by Egill Ólafsson. His quest to reconnect with his first love, Miko, amidst the early days of the COVID-19 pandemic, serves as the film’s emotional core. The story unfolds in a non-linear fashion, weaving between the present and the past, where a younger Kristófer (played by Pálmi Kormákur) navigates the vibrant streets of 1960s London.

The film’s strength lies in its character development. Ólafsson and Kormákur deliver standout performances, their chemistry palpable as they navigate the complexities of their relationship. The supporting cast, including Masahiro Motoki as Takahashi-san, adds depth to the narrative, enriching the film’s already vibrant tapestry.

Kormákur’s direction is both tender and meticulous, capturing the nuances of Kristófer’s journey with a painterly eye. The cinematography by Bergsteinn Björgúlfsson is a visual feast, with each frame meticulously composed to reflect the characters’ inner turmoil and the city’s bustling life. The use of changing aspect ratios and occasional nods to silent film techniques add layers of whimsy and nostalgia, though some may find these choices a tad distracting.

However, “Touch” is not without its flaws. The pacing can be uneven, with certain scenes dragging on longer than necessary. The film’s penchant for meandering conversations might test the patience of some viewers, and its open-ended conclusion may leave others yearning for more closure.

Despite these shortcomings, “Touch” is a film that resonates on an emotional level. Kormákur’s ability to weave profound themes into a seemingly simple story is commendable, and his compassionate portrayal of marginalized communities is both timely and necessary. The film’s exploration of trans identity and intergenerational solidarity is handled with sensitivity and grace, making it a poignant addition to Kormákur’s body of work..

In essence, “Touch” is a journey worth taking. It may not be perfect, but its heart is in the right place, and its message of hope and resilience is one that lingers long after the credits roll.