We first meet Daniel, the hero of Dark Horse [siff], as he’s arriving at a tax office. Over the past four years, he’s logged seven dollars of official income and the thought of determining whether it should count as A or B-level earnings “makes him not want to live anymore.” Daniel lives just a little bit outside the rules, always wearing headphones (a great way to experience the world, as far as I’m concerned), claiming a little bit of dyslexia, and getting by on luck, good looks, incredible charm. For money, he takes under the table payments to paint stylish graffiti around Copenhagen for lovesick clients.

His friend, “Grandpa” works at a sleep research clinic but dreams of entering the world of professional soccer refereeing. When he flees a donut shop after his crush, Franc[esca], a cute baker, declares her love for him (under the influence of psychedelic mushrooms), Daniel steps in to pick up the pieces. The pieces being her vomiting all over the floor, getting fired for being on drugs, and needing a ride home in his little Fiat. While this is not the typical love at first sight scenario, their chemistry is obvious when he returns later to bring her a legwarmer that she left behind on the ride home.

Yes, most of the characters in Dark Horse are of the quirky variety. They operate beyond the usual frequencies, and by the third of twelve vignettes, I was smitten. By the time a parade of elephants marched past a cafe window without comment, I was head over heels in love. So much so that I’ve already forgiven the way the movie falls off track toward the end, particularly when it picks up the seemingly unconnected story about an insomniac judge who’s losing his own grasp of reality.

Dagur Kári shot Dark Horse almost entirely in gorgeous dreamy new wave-inspired black and white. His band, slowblow, also provides much of the soundtrack, giving the whole thing a very auteurish feel. Even through the filter of subtitles, which occasionally get washed out in overesposed shots, the dialogue is excessively funny and nicely complements the semi-absurd situations that the endearing, attractive cast get themselves into. I have no idea when you’ll get another chance to see it; so please get yourself a ticket right away.

(screenings on 28 & 30 May)