Heavier Trip

In 2018, Juuso Laatio and Jukka Vidgren’s Heavy Trip proved a breakout success for the Finnish film industry, charming viewers around the world with its story of a black metal band from a small town taking a trip to Norway in pursuit of the big time. This sequel reconnects with them in prison, where they are serving time for inadvertently causing an international incident, and goes on to follow them on another quest, this time with the future of the band itself on the line. Unusually – and delightfully – it is every bit as much fun as the original.

Narratively, getting the band out of prison is not an easy task, because they’re resolutely non-violent, generally avoid confrontation and are, on top of that, almost at the end of their sentences. Escape becomes a priority for them, however, when they are offered a chance to perform at Wacken Open-Air in Germany by powerful promoter Mr Fisto (Anatole Taubman), and when it emerges that the family farm and abattoir where they used to practice is in deep financial trouble. If they could make it to the gig, they could save it. With the prison governor wanting to hush up the escape, they don’t have to worry about police on their tail, but instead they have Dokken (Helén Vikstvedt), now a prison warden, determined to bring them back – and violence doesn’t bother her at all.

Of course, getting to Wacken is not as simple as it seems, not least because Mr Fisto expects them to prove themselves worthy by completing a number of other tasks along the way. it soon becomes apparent that he’s only really interested in lead singer Turo (Johannes Holopainen), causing friction in the band as he gradually works to boost his ego and pry them apart. He also has terrible ideas for remixing their music, and it becomes harder and harder for them to exert any artistic control. The fractures within the metal scene itself are exposed partly thanks to an appearance by Japanese sensation Baby Metal, whom Xytrax (Max Ovaska) finds innately offensive, but who emerge as unlikely allies.

There’s a lot here that’s familiar, but the endearing characters and great comic timing turn it into something distinctive, with a natural charm that few films in this subgenre can match. Much of its is delivered in deadpan style, but there are a few wilder scenes, the highlight being a fight in a rock memorabilia museum which combines some great in-jokes with gloriously entertaining action. There’s no romantic plotline, perhaps in recognition of the fact that the film’s emotional core lies in the bonds between band members and their love from the music itself. Due to the structure of the film, we get more concert footage than last time around, which is ably directed and well handled by a cast whom one would never suspect were not professional musicians.

Like its predecessor, this is a low budget film with modest ambitions, but it proves that if you have good writing, team spirit and a real passion for the material, you don’t need big bucks to be a success. It’s a joy to watch and will leave you eager for more.