Berlinale Review: Neo Noir Islands Starring Sam Riley Takes No Risks

      Sam Riley plays Tom, a once-promising tennis pro who has turned into a coach at a luxurious hotel on the Canary Islands, in Islands, the English-language debut of Jan-Ole Gerster, known for A Coffee in Berlin. While he is the central character, we learn very little about a man who seems to shy away from any self-reflection. Living day by day, Tom takes a swig from a hidden bottle of liquor (tequila? vodka? rum?) between training sessions that he clearly finds tedious. He arrives late to work, coffee from the buffet in hand, and tries to skip classes whenever he can. In some respects, it's a laid-back lifestyle, but most mornings find him waking up with a hangover after a wild night out with the week’s tourists. However, it doesn't take long for him to notice an attractive blonde woman disembarking from the shuttle bus, and soon she notices him as well.

      Anne (Stacy Martin, skillfully portraying a blend of innocence and cunning) approaches Tom, asking for private lessons for her seven-year-old son, Anton (Dylan Torrell). Initially, Tom declines, but after Anne flirtatiously offers to pay double, he feels compelled to agree. Things take a turn when Anne’s husband, Dave (Jack Farthing), arrives; their passive-aggressive exchanges immediately reveal underlying tensions. Yet, Tom finds himself captivated by them, or at least by the attention he receives, leading him to skip work to drive them across the island and share a drink on their hotel balcony. Gerster, who co-wrote the screenplay with Blaž Kutin and Lawrie Doran, skillfully evokes a neo-noir atmosphere in this sun-soaked film, leaving audiences to anticipate what will go awry and when.

      The film subtly highlights the disparity between those who help and those in need; Tom's devotion to the Maguire family perplexes those around him while he remains unaware. The question “Are you their tour guide now?” is valid, but he dismisses it. Tom’s willingness to breach professional boundaries reveals his insecurity, loneliness, and yearning to feel appreciated and useful again. In a fleeting conversation, we discover that Tom once defeated Rafael Nadal in a match, but that feels like a distant memory. While Riley’s performance might come off as detached, his character is struggling similarly to Ian Curtis, whom he portrayed in Anton Corbijn’s Control.

      As Islands transitions into restrained thriller territory, the atmosphere holds up, though the script falters. Despite Martin and Riley's efforts, they lack the chemistry of a "will-they-won’t-they" couple, with Anne exhibiting a much stronger presence than Tom can handle. However, this sense of mismatch is not entirely detrimental, as the film suggests a more intricate situation echoing from the past into the present. When Dave goes missing, Anne remains suspiciously calm, and Tom finds it hard to stay away from her—potentially hinting at a love triangle. However, this is not the central question Islands poses. The film is most enjoyable if one immerses themselves in its atmosphere and mood, complemented by the enchanting score from Dascha Dauenhauer, while the beautiful landscapes of the Canary Islands linger just out of reach. There’s also the volcano on Lanzarote, an evident metaphor, yet its smoke doesn’t necessarily promise fire—this is par for the course with Islands.

      Islands made its debut at the 2025 Berlinale.