THE ICE TOWER reviewed by Kit Gilby

Winner of the Silver Bear for Outstanding Artistic Contribution Award at the Berlin International Film Festival 2025, and recipient of the Isabelle McNeill Award at the Cambridge Film Festival 2025, Lucile Hadžihalilović’s THE ICE TOWER is a French reimagining of Hans Christian Andersons’ The Snow Queen.

THE ICE TOWER follows orphaned 15-year-old Jeanne (Clara Pacini) who, upon running away from her foster home, finds herself squatting in the basement of a studio where a new production of The Snow Queen is being filmed. Having secured a role as a background artist, Jeanne quickly finds herself enraptured by the film’s captivating but troubled leading lady, Cristina (Marian Cotillard), who seemingly returns the sentiment, but at what cost to Jeanne’s welfare?

Pacini flawlessly portrays Jeanne’s vulnerability as a lost, impressionable teenager who is desperately seeking comfort and security from a parental figure, and compassionately expresses Jeanne’s ever-growing emotional turmoil as her adoration for Cristina builds. Jeanne’s natural curiosity dictates the slower pace of the film as she navigates her own emotional processes and imaginings of escaping her current circumstances.

Cotillard’s tremendous performance throughout the film should be applauded; she expertly captures the ethereal nature of the Snow Queen, alongside the conflicting complexities of Cristina’s life off-set and how the role is slowly consuming her. A standout moment is a near-silent scene in which Cristina privately shows her most vulnerable state while taking a quiet moment to have a cigarette during an after-set party. It’s in this moment that Cristina is revealed as a fractured woman who is struggling with the pressures of the film industry.

There are many creative layers to this film. The impressive film sets, mountain backdrops, and distinctive lighting choices combined shape the glaringly harsh landscape of the Snow Queen’s world, which perfectly aligns with Hadžihalilović’s thematic interest in nature that features heavily in her previous works.

The story’s film-within-a-film concept conveys a deep appreciation for artistry. The characters are often enthralled by the film sets, both within their roles as actors in The Snow Queen, and in their personal narratives, giving the audience time to admire the craftsmanship. The cool blue and harsh white tones of the intricate sets juxtapose the deep reds and warm orange glow of Cristina’s dressing room, both of which create a den of danger for Jeanne.

The cinematography of the film includes striking close-ups of the characters that pay homage to the Golden-Age Hollywood framing style, creating stunning portrait shots while enhancing the vintage quality of the film.

THE ICE TOWER is a visually outstanding film that holds women and art at its core. It is full of fascinating metaphors and highlights how a desperate need for human connection can lead to appalling exploitation of vulnerable people.