After carving out a successful niche in the theater world as both an actor and director, Benedikt Erlingsson has transitioned seamlessly into filmmaking. His cinematic contributions have only bolstered his reputation, with works such as Hross í hross, Kona fer i zíður, and the latest episode of The Danish Woman, which was recently aired on RÚV. In this ambitious series, Benedikt took on the dual role of director and co-writer, collaborating with Ólaf Agli Egilsson.
In a recent appearance on Gunnar Hansson’s Mannlega program on Rás 1, Benedikt reflected on his theatrical roots, acknowledging a legacy that includes his mother, Brynja Benediktsdóttir—a celebrated director—and the esteemed actor Erling Gíslason. “I’ve always known I couldn’t escape being viewed as a theater child,” he shared.
His first foray into acting came early; he made his debut as an infant in a radio play, where he was humorously coerced by his mother to deliver the appropriate emotional response. “I was the crying baby that had to be edited in,” he recalled, adding that he also performed in New Year’s shows and later graced the stage at Þjóðleikús.
Upon completing his drama studies, Benedikt dove into direction, spurred by a sense of frustration as an actor. “I had this innate desire for control,” he reflected, an outlook that undoubtedly shaped his journey in the arts.
A Theater Actor Turned Filmmaker
Throughout his studies in acting, Benedikt was influenced by notable figures like Pétur Einarsson, Guðjón Pedersen, and Kjartan Ragnarsson—”great theater personalities who inspired me,” he stated. He acknowledged the innovative spirit of theater, where the manner of storytelling often overshadows the story itself. “The beauty of theater lies in its format; it allows for so much more experimentation than film,” he noted, emphasizing his desire to infuse cinematic storytelling with theater’s adventurous spirit. A striking example is in The Danish Woman, where a pivotal moment features the protagonist stepping out of frame, leaving only the director and cinematographer behind. “It’s as if it exposes us,” Benedikt elaborated. “I see myself as a theater artist who brings narrative techniques into the more stagnant realm of film and television.”
“I want to claim my identity as a theater person masquerading as a filmmaker,” he affirmed.
The Mentor Who Ignited His Directional Journey
Benedikt attributes much of his confidence in directing to a serendipitous meeting with Marek Kostrzewski, a Polish theater actor who moved to Sweden following the Gdansk uprising. This encounter occurred through an exchange program between the Malmö School and the Icelandic Drama School, where Kostrzewski was a visiting instructor. Benedikt candidly described how he observed Kostrzewski at work, eventually enrolling in a film course that led to the production of six short films inspired by Strindberg.
“It was an immersion into high-profile projects right from the start, a deep dive into the world of theater and film,” he recalled. This experience laid the groundwork for his directorial career.
He praised Kostrzewski for demystifying the art of acting, contrasting him with many teachers who amplify the complexity of the craft. “Marek had this renaissance quality; he made things simple,” Benedikt explained, affirming that true depth often lies in simplicity. Kostrzewski’s guidance emboldened Benedikt to pursue directing with newfound assertiveness.
Insights from a Unique Teaching Method
Benedikt fondly recalls one illuminating moment related to the concept of monologues, which was brought to life through a most unconventional exercise by Kostrzewski. A student questioned the relevance of monologues, to which the teacher responded with an ingenious demonstration—throwing a watch out the window and instructing the student to search for it. As the student wrestled with frustration, he inevitably began to vocalize his inner turmoil, prompting Kostrzewski to declare, “That’s a monologue; it’s the mind’s dialogue with itself when it grapples with reality.”
This insight informed Benedikt’s ongoing exploration of the intricate dynamics in human relationships, both on and off the stage. He emphasizes this theme in his work and teaches alongside his aunt, Sóleyja Davíðsdóttir, at the Anxiety Treatment Center.
A Warm Reception for The Danish Woman
With the release of all episodes of The Danish Woman, the series has garnered attention not just in Iceland but also in France and Germany, thanks to an international collaboration that includes Swedish, Danish, Finnish, and French production houses. “We’re ambitiously attempting to market this globally,” Benedikt revealed, with a premiere scheduled in Sweden for March and in Denmark for April. “We hope the Danish woman captures hearts worldwide,” he added with a hopeful tone.
The series recently premiered at the Gothenburg Festival, where audiences filled theaters for marathon screenings. “People sat through six hours of content without a single walkout,” Benedikt noted with amusement.
He relished the Swedish audience’s reactions to the series, as they keenly observed the protagonist’s challenges in navigating societal norms. “Humor is often embedded in these portrayals. I’m curious to see how the Danes react to this portrayal,” he mused.
Acknowledging the Strength of Matriarchs
Both The Danish Woman and A Woman Goes to War celebrate resilient female leads, a narrative choice that reflects a deep connection to matriarchs in his life. “The strong mother often shapes the character of our lives,” he stated, drawing parallels to the influence of Astrid Lindgren’s iconic character, Lina Longsock—an anarchic spirit who defies authority.
Benedikt, a father of three daughters, noted that they too have embraced Lina’s spirit. He finds joy in the conversations and interpretations sparked by his work, expressing gratitude for the critique it invites. “It’s exhilarating when people engage deeply with these themes and reflect on their meanings,” he remarked. “We do this not only for ourselves but to establish a dialogue within our contemporary landscape, even as we aspire for international reach. Ultimately, The Danish Woman is a mirror, reflecting the essence of our surroundings and experiences.”
For a deeper dive into Benedikt Erlingsson’s insights, you can catch the full interview on the Mannlega episode available online.
