Islands is a gripping neo-noir set in a sun-soaked resort in Fuerteventura, exploring themes of alienation, disconnection and self-destruction (Picture: Wikimedia Commons)
“Even here people want to pretend that they are somewhere else”—this line, spoken by character Dave, sums up many of the themes of Islands.
In this gripping neo-noir mystery set in a sun-soaked resort in Fuerteventura, the Canary Islands, director Jan-Ole Gerster explores themes of disconnection and self-destruction.
The film follows ex-tennis professional Tom, played by Sam Riley, who works as a tennis coach for tourists. His life, although outwardly cool and exciting, follows a destructive rhythm of work, partying, one-night stands and, ultimately, a deep detachment from others.
That is, until a young family arrives one day.
Anne, played by Stacy Martin, is looking for tennis lessons for her son Anton. Her husband Dave, portrayed by actor Jack Farthing, seems more interested in showing off his own tennis skills.
Tom is almost magnetically pulled towards the three, taking time off just to show them around the island and get them a room upgrade.
Gradually, underlying tensions are revealed in Anne and Dave’s relationship and we see how each character is secretly longing for what they think the other might have.
This is the core of the film. Dave wants the hedonistic, single life he thinks Tom has. Tom, on the other hand, is attracted to the idea of belonging to this family.
This is alienation in action. It is inescapable even to those who are well off and able to afford to “escape” their normal lives whilst playing at being tourists on holiday.
This is the type of alienation between people, where the constant competition for jobs, partners, money and status boils down to each person seeing others merely as products.
But seeing and valuing their lives in this way has trapped both Dave and Tom in deeply unhappy states.
This takes us to the midpoint of the film when Dave vanishes after a wild night of drinking with Tom at the Waikiki bar. We are suddenly plunged into a darker exploration of family and relationships.
Anne begins to act increasingly erratically and at times she appears almost relieved that Dave is now gone.
There are many subtle indications throughout the film that Anne knows Tom already and that she has been to Fuerteventura before. There are hints that Anton could even be Tom’s biological son.
This is what makes Anne one of the most interesting characters. As the audience, we never really know what her true intentions are or what she really is thinking or feeling. But she is clearly attempting to try out a new family dynamic, hoping to make Tom fit the family in some way. In fact, she suggests moving to the island permanently.
Islands says something about families and women’s expected role within them—in ordinary circumstances, this is something Anne would never be able to explore.
Societal norms under capitalism often restrict how families should be. They restrict the potential of people within family units to form bonds and connections that could liberatory or fulfilling.
Over the last few years there has been a pull towards studying and satirising the ultra-wealthy in luxury, exotic settings. For instance, the anthology series The White Lotus or the black comedy Triangle of Sadness.
Whilst the characters in this film are not exactly ultra‑wealthy, many elements of this film pick up on a similar thread.
This film, similarly, is a snapshot into the privilege of escape. But the reality of life under the misery of capitalism is that no one can ever really be unaffected by a system that runs every aspect of life.
Anne, Dave and Tom may all like to think of themselves as isolated “islands”, their true selves obscured under the shades of their sunglasses.
But as the saying goes, “No man is an island.”
