A moody, atmospheric gay love story set against the backdrop of a gorgeous fishing town? Count me in! No Rest for the Wicked is akin to Call Me By Your Name in the visuals department, even if the focal point is a love story even more tragic. The couple seems doomed from the moment they meet, and yet such a distinct romance between them sprouts in such a short span of time. The chemistry between the central duo is very strong, and the performances are even better. Rippling with coming-of-age complexities and struck by a moody gothic vampirism, No Rest for the Wicked is a gorgeous addition to the annals of queer horror.
Baldur (Egor Venned) is a quiet twink, going through the motions while living with his mother (Sofia Nolsøe Mikkelsen), in the shadow of his deceased father. The sudden appearance of a mysterious stranger, Helge (Pilou Asbæk), shatters his quiet calm. Helge gets stuck in a difficult spot, and ends up causing Baldur’s tiny fishing boat to capsize as he tries to rescue the silly Danish man. Helge pulls Baldur out of the water to revive him, and just like that, a love story is born. Though clearly forbidden at the time this takes place in 1862, there is surprisingly little homophobia present in the storyline. These are just two men who have a connection. In fact, Baldur’s mother, Alsa, dines with them, and warmly welcomes Helge into their home. Albeit, she doesn’t actually catch onto their connection until she sees it with her own two eyes.
There are two very distinct eras in Baldur’s life: before Helge and after Helge. The prior version of Baldur had no ambitions to explore outside the bounds of his Faroe Island. The new Baldur, however, enthusiastically signs up for a whaling expedition that could see him away from home for years. The catalyst, of course, is Helge. Can their relationship survive being apart should Baldur stay back instead? At the urging a worried Alsa, Baldur backs out of leaving at the last minute. When a crazy intense storm breaks out, however, Helge’s body is among those who wash up on shore. Completely heartbroken and riddled with guilt at not having died next to his beloved, Baldur cuts open his hand and prays for Helge to be returned.
The entire first act of No Rest for the Wicked is devoted to Baldur and Helge’s bond. This makes everything that follows that much more impactful. Once the revived Helge shows up again, initially seen only through mist, he is changed, yet the same. He lays again with Baldur, and their forbidden connection exists only in the shadows of night. This compelling reversal of the dynamic, built up over several weeks as the duo grew closer, would be interesting enough on its own without the addition of the vampire mythology. This element, though, creates a spicy extra ingredient that bursts with erotic tension.
As the film burrows deeper into its genre subtext, the mood grows darker and more grim, but strangely just as romantic. The final act even deposits Alsa as a central player in the proceedings. The trajectory of Baldur and Helge’s romance always compels. Played by model Venned, Baldur is complacent and passive at first, whilst Helge is more gruff and adventurous. Their relationship may buck traditional norms, but remains potent and incredibly sweet. Watching them together fuels the film’s lifeblood, and alchemizes it into effective queer horror.
A breathtaking underwater sequence leads into the film’s most beautifully photographed scene of intimacy between our two leads. This kind of stunning cinematography and filmmaking from director Kasper Kalle channels Robert Eggers and his distinctive visual aesthetic. Rather than following traditional vampire rules, the mythology feels uniquely tied to Faroese folklore and religious superstition, making No Rest for the Wicked a singular, utterly unforgettable experience. Haunting and nearly perfect, this emotional slow-burn sinks its teeth into devastating Danish horror.
No Rest for the Wicked took a bite out of 2026’s Fantasia International Film Festival.
