There arent a lot of Sigur Rós haters: people either love the Icelandic band or are content to let its ethereal sounds fade into the background. It follows that there probably arent going to be a lot of people who dislike Inni, which translates as inside. Inni is radically different from 2007’s heima, which showed Sigur Rós at the height of its indie fame, and comes in the middle of a long hiatus, with band members pursuing solo projects. Shooting mostly in moody black-and-white, director Vincent Morrisset makes digital footage from 2008 look like long-lost video from around the time when Ian Curtis was still doing gigs. He transferred the performance footage to 16mm film and continued filtering, reframing, and refocusing it, using color archival material of early TV interviews and backstage outtakes as separators between songs. The result is a hazy, shoegazy visual tone that is both elegiac and eulogisticthat is, at once meditative and funereal. At a time when most U.S. music docs have devolved into either artist-endorsed EPKs (see Scorseses Dylan and George Harrison docs) or predictable Behind the Music-style fables of redemption, its refreshing to see state-sponsored artists still flying the flag for the rock film as an art film. (NR) GUSTAVO TURNER
Sat., Oct. 29, 8 p.m., 2011
