Shocking Review: Uncover the Forbidden Secrets of ‘Touch’ – A Story of a Kitchen & Unreachable Bridges!

Baltasar Kormákur, a director known for effortlessly balancing Hollywood narratives in remote locations (“Beast,” “Adrift”) and films in his homeland of Iceland, returns to his roots with the bittersweet love story, “Touch.” But it doesn’t take long before the movie globe-trots within its two-hour duration.

The theme of restlessness is woven into the plot, which is based on a book penned by Ólafur Jóhann Ólafsson. It revolves around a widower driven by a romantic memory to unravel a puzzle from his past. This intriguing twist, supported by captivating performances and Kormákur’s instinctive storytelling, is a refreshing change for a director who typically leans towards high-octane survival tales.

The story stars Egill Ólafsson, a seasoned Icelandic actor-singer, who portrays Kristofer. As the movie begins, we see Kristofer closing down his Reykjavik restaurant and leaving home, apologizing to an image of a woman, presumably his deceased wife, before boarding a plane to London. Indications of the onset of the pandemic are subtly portrayed via radio clips and masked workers, and we see Kristofer performing memory exercises, a sign of early-stage dementia. However, what truly propels Kristofer’s journey is the mystery surrounding a woman he fell for during his rebellious college years in the U.K., where he worked as a dishwasher in a Japanese restaurant.

The movie then shifts to London in the swinging ’60s, introducing us to the young Kristofer, played by Pálmi, the director’s lanky, shaggy-haired son, who is a novice actor. We also meet the gentle-eyed Miko (played by the glowing Kōki), the daughter of the hardworking restaurant owner, Takahashi-san (Masahiro Motoki), and his fellow employee. Thanks to Bernsteinn Björgúlfsson’s inviting cinematography and Sunneva Ása Weisshappel’s detailed restaurant set, it quickly becomes clear that this flashback is the core narrative, providing a sanctuary for a makeshift family of immigrants.

Before long, Kristofer drops out of school to immerse himself in Japanese culture, from learning the language to cooking the food and even writing haikus. A mentorship blossoms between him and the restaurant’s stern yet friendly owner. Meanwhile, an intimate bond forms between the two young people, hidden from the watchful eyes of others. However, Miko, who speaks English, has reasons to hide this budding love from her vigilant father, who still grapples with the physical and emotional aftermath of surviving the Hiroshima bombing.

As past events reach their inevitable heartbreaking climax and the potential of the present takes hold, the older Kristofer, subtly portrayed by Ólafsson, journeys to Hiroshima. Here, the truth about a romance abruptly ended 50 years prior is revealed. However, the story’s strength as a tale of strong-minded individuals from diverse backgrounds finding common ground in a foreign country is somewhat undermined by the heavy historical context. While Miko’s link to the bombing is handled sensitively, especially in relation to the pandemic’s impact on the final scenes (highlighted by a moving performance from Yoko Narahashi, the film’s casting director), it feels somewhat forced as a plot element.

Despite the somber historical backdrop, “Touch” still offers much to appreciate as a love story, especially considering Kormákur’s empathetic direction with his actors. Often hidden behind his action-packed portfolio is his appreciation for the power of subtle interactions – the glances, words, and gestures that occur in intimate settings. He has a knack for uncovering human connections, a consistently tender approach which perfectly suits a film where an elderly man clings to romantic memories for decades, hoping to rekindle those feelings once more.