‘Islands’ Review: Sam Riley Experiences ‘L’Avventura’ of a Lifetime in Soul-Searching European Thriller

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In a captivating film titled “Islands,” directed by German filmmaker Jan-Ole Gerster, we find ourselves opening with a scene that might seem like rock bottom to many – a reason to seek help at a rehab center. Actor Sam Riley portrays Tom, who wakes up in a sandy expanse reminiscent of a desert. It appears he has either descended from the heavens or been spat out, but more likely, he’s passed out… once again. As the camera moves to the left, we see a grand hotel in the distance, resembling a cruise ship, where Tom works as a tennis coach for vacationing tourists. However, Tom’s life has mainly consisted of unbridled fun without any accountability, finding rest wherever he happens upon.

In an intriguing and thought-provoking movie journey, I find myself in the heart of Fuerteventura, the largest Canary Island, alongside a family of three. This unexpected visit serves as a wake-up call for me, prompting a reevaluation of my life decisions. From the very beginning, the film, directed by Gerster, carries a neo-noir atmosphere, enhanced by its unsettling and discordant music. My initial appearance on screen, disheveled and solitary, echoes films like “Harper” and “The Long Goodbye,” where a rumpled detective navigates his day – a role that Riley perfectly embodies.

However, there’s a more profound issue at play here, reminiscent of scenes from an Antonioni film. Tom, once a remarkable tennis player, whose victory against Spanish champion Rafael Nadal in a legendary bet is still spoken about by the locals, seems to have grown complacent on Fuerteventura. The authors, Gerster, Blaž Kutin, and Lawrie Doran, provide sufficient information for us to visualize a man who drifts with the current, accepting drugs when offered, sleeping with the constant stream of young visitors, and arriving late to his morning lessons, barely sober enough to repeat the pattern. This is a man who’ll boast about living the dream, but upon closer questioning, might confess that it feels empty and unsatisfying.

Anne Murphy appears to be the ideal candidate to engage with him. Portrayed by Stacy Martin, who exudes a captivating air of sophistication (with her blonde hair), Anne initially comes across as someone who has everything under control, organizing tennis lessons for her young son, Anton (Dylan Torrell). However, as the story progresses, it becomes clear that she too is winging it. Although it’s evident that Anne and her husband, Dave (Jack Farthing), are affluent individuals, there are hints of dissatisfaction beneath their opulent lifestyle. Among the numerous luxurious vacation spots they could have chosen, why did Anne select this particular destination? Additionally, through certain glances and subtle movements, we sense a past encounter between Anne and Tom — possibly in this very location.

The idea that Anton might be Tom’s son, as suggested by Tom’s calculations, has the power to disrupt Anton’s peaceful but insignificant life. There’s no hint that he’s yearning for a deeper romantic connection with a woman or waiting for the perfect one to appear. Casual liaisons are more his style. However, encountering this boy who could be related to him stirs something within him: maybe it’s the idea of heritage (similar to Clint Bentley’s “Jockey” a few years back), that this promising young tennis talent could achieve greater success than he did in the sport.

Tom’s schedule is packed solid throughout the week, yet mysteriously, Gerster seems to have him rescheduling lessons and arranging time for the Murphys. He even upgrades them to a nicer room and gives them personal tours of the most stunning beaches on the island. All the while, an intriguing chemistry develops between him and Anne, while her unaware husband, whom she refers to as a douchebag, only serves to further emphasize his worthlessness. Following a night of heavy drinking, Dave vanishes, but not before hinting that he feels suffocated by his family – a sentiment that strikes Tom as peculiar, given that it seems Dave is envious of the life Tom might lead in Dave’s shoes.

As the events unfold, there’s an understated feel of a psychological thriller, reminiscent of Patricia Highsmith’s works, with Anne finding herself under suspicion for her husband’s mysterious disappearance. Tom too was unconscious that night, as is his habit, but this doesn’t absolve him of any involvement. The authorities intervene, and Tom uses his connections (previously shown in a scene where the police are accustomed to dealing with his messes) to maneuver things, yet the silent tension between him and Anne leaves room for the audience to interpret their relationship — until finally, something unexpected (though perhaps not so surprising to Anne) compels Tom to make a choice about the path he wants his life to take moving forward.

In Fuerteventura, Gerster has discovered an ideal backdrop for his own “L’Avventura”: a penetrating examination of several contemporary lives that are so disconnected from one another (even their own spouses) that they seem isolated. Utilizing the expansive Cinemascope aspect ratio to reinforce this concept, Gerster’s film is less cryptic and enigmatic than the Italian masterpiece, yet it retains ample room for interpretation and presents a delightfully ambiguous conclusion. Interestingly, this voyage is not primarily about the destination but rather the determination to surpass the lethargy that restrains us.

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2025-02-17 00:46