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Archive for the ‘Swedish Cinema’ Category

Snabba Cash (Easy Money, Sweden 2010)

Posted by Roy Stafford on 4 August 2013

The three principal characters (from left) Jorge, Johan and Mrado

The three principal characters (from left) Jorge, Johan and Mrado

The obvious question about Easy Money is why did it take so long to get to the UK? Another crime fiction adaptation – from a bestselling novel by Jans Lepidus (2006) – which was a box office smash in Sweden in 2010 and it has already had a sequel with a third film due for release in October this year. Since ‘Nordic Noir’ arguably reached the peak of its popularity in the UK in 2011-12, why wasn’t this film released with the same kind of marketing drive that propelled the Stieg Larsson films and Headhunters into the UK Top 10? Partly, perhaps, because there wasn’t an English translation of the source novel published in the UK until early this year. But I suspect that the botched release has been more a product of a Hollywood battle over remake rights. Its eventual release via Lionsgate is announced as ‘Martin Scorsese Presents’. I confess that I didn’t notice this on my cinema visit and the film clearly missed its Nordic Noir audience as the takings were dire in the first two weeks. But don’t let that put you off. Easy Money is an excellent thriller and well worth catching in CinemaScope on a big screen.

In some ways this is a typical Nordic crime film, though the female lead character is rather underutilised. (She may appear more in the next film – in this one it is important that she doesn’t really know what is happening.) It’s really a hard boys’ thriller with three central male characters. I was confused when trailers and early reviews kept mentioning The Killing. It was only after the screening that I realised that the main character ‘JW’ (Johan) was played by Joel Kinnaman, who was also the lead in the American version of the Danish series. In Easy Money, JW is a young man with a double life – by day an ‘A’ student at the Stockholm School of Economics and by night a taxi driver. My early recognition was of Matias Varela, one of the team of police officers in the Arne Dahl TV films shown recently in the UK. Varela plays Jorge, a Latin American migrant who we see first making a prison break. The third lead is Mrado (Dragomir Mrsic) a Serbian hit man working for a ‘Yugoslav’ gang.

The key narrative idea is that the lure of ‘easy money’ is too strong for each of the three characters above. The stories are those of these three characters, from their perspectives. The police only appear at the end of the film. The Nordic Noir elements are the almost complete focus on migrant communities in Stockholm and Göteborg and the way in which each of the three central characters is driven by/constrained by a ‘social’ issue of some kind.Jorge has a pregnant sister who he doesn’t want to be drawn into gangland struggles – and a cousin who is a key contact in Germany. Mrado, separated from his partner, finds himself presented with sole custody of his small daughter, making his lifestyle quite complicated. Johan is effectively ‘living a lie’ and we can’t be sure exactly what his background is, but he is clearly conning his rich friends.

The key social/cultural/economic issue is however the international financial crisis of 2008 (i.e. after the novel was written) since it is Johann’s grasp of the situation and his ideas about how to exploit it which appeals to Abdulkarim, the gang boss who runs the taxi company. (It also helps Johann in his dealings with his wealthy friends.) I won’t spoil the plot but it involves the Arabs/Hispanics, supported by the Albanians trying to outwit the ‘Yugoslavs’ – with various agents switching sides. Director Daniel Espinosa, himself from a Chilean migrant background says that he knew these cultures in the Stockholm suburbs/housing estates and that’s why he fought to get the job. Before Easy Money hit the UK, Espinosa had already had his first Hollywood film with Denzel Washington, Safe House, released internationally.

The ending of the film ha resolution, but also leaves open the possibilities for the next episode. I will certainly try to watch Easy Money 2. The trailer below from Lionsgate is very ‘Hollywood’. It makes no reference to Scandinavian crime fiction and its popularity, which I think is a mistake – the film is mostly in Swedish. If you are a Nordic Noir fan, this is probably closest to the Arne Dahl series, though from the criminals’ perspective.

Posted in Nordic Cinema, Swedish Cinema | Tagged: , | 2 Comments »

False Trail (Jägarna 2, Sweden 2011)

Posted by Roy Stafford on 6 January 2013

Everyone has access to a rifle – Annika Nordin as Karin

Everyone has access to a rifle – Annika Nordin as Karin

False Trail saved the Christmas holiday for me in terms of a new film to go and see. I’m glad I saw it and I’m grateful to the National Media Museum for booking it – but disappointed that Arrow, the small distributor that seems to be acquiring most of the Nordic films and TV series reaching the UK, didn’t give it more of a push. As the Swedish title indicates, this is a sequel to a film released in 1996, which I don’t think reached the UK. The market has, of course, changed since 1996 for Swedish crime fiction films. There is a brief flashback in this film to what I presume were the events of the first, but there doesn’t seem to be any problem in making sense of this film as a standalone.

This is another film that begins with a hunt. Following the Thomas Vinterberg film, UK audiences have been reminded that we seem to be amongst the European countries with the lowest rates of gun ownership. In Swedish Lappland, where False Trail is set, virtually everyone in the film owns at least one hunting rifle. A young woman has gone missing and clues have been found during the time that a hunt is taking place. The hunt then turns into a search operation and the local police arrest a likely and seemingly obvious suspect. However, it is such a small close-knit community that individual police officers have too much history of confrontations with the suspect and the local chief decides to ask Stockholm for help. The officer who arrives from the South, actually comes from Lappland, but he has hardly been back since the events of the earlier (i.e. in 1996). He has a family connection to the local police but no knowledge of the suspect so he is deemed potentially objective.

The man from the South is played by Rolf Lassgård, who has already played Martin Beck, Kurt Wallander and Sebastian Bergman. He’s a great actor but it would be nice to see a new actor occasionally. Predictably, he is short-tempered and stubborn but a good investigator. The film is essentially a procedural, but there are strong thriller elements and the finale plays out like a family melodrama in a perfect setting – a fast-flowing river with large boulders creating turbulence. The plot and the setting are reminiscent of Insomnia (Norway 1997) (the film remade by Christopher Nolan) but the long summer evenings so far North aren’t really mentioned by the characters. It’s also the case that the film does seem like a TV film with Lassgård as Wallander. But this is only in terms of his casting and the crime fiction elements. The film looks magnificent in CinemaScope and deserves to be seen in the cinema and not on DVD where Arrow presumably expects to find the biggest audiences. It’s over two hours but I found the time whizzed by and the thriller elements worked pretty well. I won’t spoil the plot but as I’ve indicated already this is more a familiar crime melodrama rather than that critique of social policies and the breakdown of society we are familiar with from Stieg Larsson and Henning Mankell.

With over half a million admissions in Sweden, director Kjell Sundvall‘s film was a popular local hit. Arrow have provided a UK Facebook page for the film which lists cinemas where the film is playing later in January in the UK. I’d certainly recommend a visit – but not as some reviewers suggest as a follow-on from The Killing. This has more outdoor action and the climax is more like a classic 1950s Western. In other words it’s the kind of genre film that popular cinema needs more of. I bet it’s more fun than The Hobbit!

Posted in Nordic Cinema, Swedish Cinema | Tagged: , | 3 Comments »

Sebastian Bergman (Den fördömde, Sweden/Germany 2010)

Posted by Roy Stafford on 3 June 2012

The murder squad with Bergman (Rolf Lassgärd) centre and Vanja (Moa Silén) on the right.

This two-part narrative offers an unusual TV format – two 90 mins crime stories which together make a single 180 minute narrative about the principal investigator. (The German TV channel ZDF lists them as 2 x 100 mins, so there may have been cuts.) I’ve not come across this before as far as I remember. Usually a ‘mini-series’ or ‘special’ will be a single crime story spread over two or three episodes. What seems to have happened here is that the Nordic Noir interest in the personal life of the central investigator has been pushed to the limit and has now become the main narrative driver.

The central character is a psychologist/psychological profiler named Sebastian Bergman (the joke about the famous Swedish film director comes in part 2). He’s played by Rolf Lassgärd – one of Sweden’s best-known actors. Lassgärd is excellent but he carries a lot of baggage having played Henning Mankell’s Kurt Wallander – in the first Swedish incarnation of the character – and appeared in a series based on the Martin Beck novels, the original Scandinavian police procedural success from the 1970s. Mankell himself married Ingmar Bergman’s daughter a few years ago. The producers of this series worked on the original Wallander and Part 1 of this series went out on Christmas Day 2010 in Sweden – creating a TV event which must have been a bit like the death of Inspector Morse on UK TV in terms of its resonances.

Sebastian is in virtually every way an unsympathetic character. We are introduced to him via a scene in some ways reminiscent of one of his Wallander roles (the opening to The Man Who Smiled, 2003) – giving a lecture to police officers, during which he reveals himself as an egoist who makes offensive remarks to two of the women in the audience. Simply put he is a serial shagger and that is an important element in the narrative. Brilliant though he may be as a profiler, Sebastian is a vulnerable man in terms of controlling his libido and he has been damaged by the loss of his wife and small daughter in the 2004 tsunami in the Indian Ocean – believing he could have saved his daughter.

The original Swedish title of the series translates as ‘The Condemned’ or ‘The Doomed’. Does this refer to Sebastian? In Part 1 the ‘retired’ Bergman helps to solve a shooting in his own home town where he has gone to visit his old house after his mother’s recent death. He clearly knows the two senior police officers conducting the investigation who accept his help, but he immediately antagonises Vanja, the bright young woman who does the main leg-work for the murder squad. The young blonde policewoman at various times wears her hair tied up Lassgärd in a short ponytail – at which point she looks remarkably like the late Joanna Sällström who played Kurt Wallander’s daughter, Linda in the Krister Henriksson version of the Mankell stories. In Part 2 Bergman again forces himself upon the reluctant investigation team in order to solve the serial killing of three women which seems to be the work of a ‘copycat’ killer. Bergman himself ‘solved’ the original crime and it soon becomes apparent that the killer has a personal interest in Bergman.

I don’t want to spoil the narrative pleasure of anyone who wants to watch the series – on the BBCiPlayer in the UK – but it will be fairly obvious that the main focus is on the central dynamic of many Nordic Noir narratives, i.e. the relationship between the older, damaged/vulnerable male investigator and the bright, confident young woman.

I enjoyed watching both parts, but on reflection they seem very different. Part 1 seems to be in the tradition of the small-town procedural. I like the use of the school gym as the temporary murder squad HQ and the general sense of claustrophobia in the small community. Part 1 is directed by Daniel Espinosa who made the big film hit, Easy Money (Snabba Cash) immediately before this TV episode. The shaky camerawork is irritating I know, but he does achieve an edginess which works well with the claustrophobia and the short flashbacks to possible crime scenarios fit well into the editing pattern. By contrast, Part 2 is directed by one of the two co-writers, Michael Hjorth. This seemed much blander and closer to TV crime series conventions. The crime story has no links to Part 1 at all and as a serial killer story it’s much more North American (and also closer to the recent Those Who Kill, the Danish series on ITV3). All the Swedish (and Danish) series seem to me to be much weaker when they go for the action genre finale. Even in The Killing 2 and The Bridge, I found the final confrontation to be much less compelling than what went before. The characters are what make these series unmissable – we can get chases, fights and stand-offs at any time.

Bergman, as portrayed by Lassgärd, is a fascinating character. You want to punch him in the mouth, but you know that he is going to come up with something (after several mistakes). I’ve seen several comments that make him out to be very similar to the Robbie Coltrane character in Cracker. I didn’t watch enough of that series to be able to make that judgement but there always seems to be a sense of fun about Coltrane – Lassgärd is a much darker presence. I could take more of him in episodes that were more like Part 1 here. In the meantime, it’s back to the French series Spiral which I haven’t yet got into. We expect the Scandinavians back in a couple of months – anyone know when exactly?

Posted in Global television, Nordic Cinema, Swedish Cinema | Tagged: | Leave a Comment »

Stacking up the numbers on Hollywood remakes – a win for subtitles?

Posted by Roy Stafford on 30 March 2012

Trying – and probably failing – not to feel smug, I offer you this article in today’s Guardian by number cruncher Charles Gant. A week before the release of Headhunters, confidently expected to be a worldwide hit as a Norwegian film, Gant reports that MGM has conceded that David Fincher’s The Girl With the Dragon Tattoo will make a loss in cinemas (despite grossing over $230 million). Gant questions why Hollywood makes a seemingly pointless remake – our sentiments entirely. Meanwhile, Mark Wahlberg is reported as being interested in taking the lead role in Summit’s remake of Headhunters.

Having just read Headhunters – and enjoying it very much, I’m very much looking forward to the film and I’ll be introducing it on April 14 at the National Media Museum in Bradford as part of a talk on Nordic Crime Fiction. Please come along.

Posted in Literary adaptations, Nordic Cinema, Norwegian Cinema, Novels, Swedish Cinema | Tagged: , | Leave a Comment »

The Man on the Roof (Mannen på taket, Sweden 1976)

Posted by Roy Stafford on 7 March 2012

The media on the street during the climax of The Man on the Roof (screengrab by DVD Beaver)

Nordic crime fiction is one of the major trends in contemporary film and television with successful Nordic titles often prompting swift American remakes. If you want to go back to the source of many of the celebrated elements of the Swedish police procedural, the Martin Beck novels by Maj Sjöwall and Per Wahlöö offer a good place to start. This couple, good Marxist socialists both, wrote ten immensely popular police procedurals in the 1960s and 1970s featuring a Stockholm detective and his team. The stories all manage to critique what the authors saw as the flaws in Swedish social democracy. It is this political imperative which has survived in the work of Henning Mankell and others. All the books were made into films or TV series in Sweden and overseas. The best of the films is often said to be this 1976 adaptation by the celebrated Swedish director Bo Widerberg. Widerberg was the young turk of the Swedish ‘New Wave’ in the early 1960s and one of the more radical directors who was critical of Ingmar Bergman’s status within Swedish film culture.

The novel’s title is The Abominable Man – a reference to a police lieutenant who is lying in a hospital bed when he is attacked and brutally murdered, almost filleted with a bayonet. Martin Beck and his colleagues begin an investigation but just as they solve the mystery, the murderer takes to the rooftops with a selection of powerful snipers’ rifles and the police authorities have to devise a safe way of disarming him.

Carl-Gustaf Lindstedt as Martin Beck. Eastwood or McQueen he isn't, but not a police inspector to underestimate either.

The key feature of the film is its realism. Widerberg shoots on location and the action sequences in the film have a strong documentary feel which is also evident during the long police procedural sequences. The casting of a leading Swedish comedian of the period Carl-Gustaf Lindstedt as Martin Beck and the sheer ‘ordinariness’ of the rest of the team adds to this ‘realism effect’. (Lindstedt was the son of a Social-Democratic Party politician and started his career in a socialist youth theatre group according to Wikipedia.)  The film is generally very well thought of – bearing comparison with the best Hollywood crime films of the 1970s (comparisons are made with The French Connection). The critique here is not of police corruption in the Hollywood sense (i.e. drugs, extortion etc.), but something more akin to the systematic failure of police teams to do their job properly – and then to cover up the evidence with collective amnesia and a refusal to take complaints seriously. This approach shifts the focus from a single rogue to the system itself.

Overall I was very impressed with this film (presented on a Swedish Region 2 DVD with English subs bought online from Play.com). The quality of the transfer to DVD is very good. I was a Widerberg fan in the late 1960s and early 1970s but I don’t remember this getting a UK release. I did feel that one or two of the decisions during the sniper incident seemed a bit odd, but then I reflected on how Hollywood would have played it and concluded that the bungling of the Swedish approach is much more like real life and the mistakes we all make. It might be interesting to compare this with some of the other Martin Beck adaptations. After watching this, it doesn’t seem so surprising that Walter Matthau should have played Beck in the US adaptation of another Sjöwall/Wahlöö novel The Laughing Policeman (novel 1968, film 1973). The setting is changed to San Francisco and the character names are changed but the cast looks strong Louis Gossett Jr, Bruce Dern and Joanna Cassidy in a small role. Anybody seen it?

Posted in Nordic Cinema, Swedish Cinema | Tagged: , , , | Leave a Comment »

24 Frames: The Cinema of Scandinavia (2005)

Posted by Roy Stafford on 13 February 2012

Could this be the first book I’ve bought that I can’t review? Perhaps you, the reader, should decide. We’ve reviewed two other entries from this Wallflower series, but this collection of essays on Scandinavian films presents me with an unusual problem – I haven’t seen any of the 24 films selected as case studies. Now I admit that my specific interest in ‘Nordic Cinema’ is fairly recent but my experience of Swedish and Danish Cinema over the years is not too bad. I don’t think that it is just me – the brave editor of this collection has decided to go for a much wider perspective on regional cinema than I have seen elsewhere in the series.

The selection of 24 titles spans 1905 to 2004 and begins with ‘actualité‘  footage of the arrival of the King of Norway at Christiania (Oslo) in 1905 at the moment of Norwegian independence and the founding of the nation state. Elsewhere in the selection we find three advertising films, two of them by leading filmmakers from Sweden, Ingmar Bergman and Roy Andersson, and two of the sex films made in the 1960s, one from Sweden and one from Denmark (intriguingly categorised as a ‘happy porn’ film). There are two documentaries (one of which is the extremely successful 2001 film about a Norwegian choir, known internationally as Cool and Crazy) and a children’s film Elvis, Elvis (Sweden 1977). And would you expect The Wake (Denmark 2000) to be 462 minutes of art installation work? The selections do span 100 years but it’s noticeable that seven of the films date from the period 1945-55, more than any other ten-year period – and there are some periods that are not represented at all (e.g. 1956-68). As for the five Nordic countries, Denmark, Finland and Norway are represented roughly equally but Sweden has nearly twice as many entries. There is no selection representing Iceland. And just in case you were wondering, besides Bergman and Andersson there are films from other internationally-known auteurs such as Carl Dreyer, Aki Kaurismaki and Lars Von Trier.

The reason I bought the book was because I needed a general introduction to Nordic Cinema and there is only this or the Routledge National Cinema series entry available at the moment. When I first realised that I hadn’t seen any of the films, my first reaction was very negative, but now that I think about it, there is still plenty to learn from the guide. All the authors except one are based at universities in Sweden, Finland, Norway or Denmark and this may partly explain the selections since presumably they have better access to the older films than most audiences outside the region. I’m not sure what to make of the exclusion of Iceland. In her introduction Tytti Soila explains that Iceland produced very few films before the late 1970s and that Icelandic film culture has had a tendency to look more towards Anglo-Saxon culture. It still seems a shame though that there isn’t one entry. (The introduction also points out that as well as the similarities which help the Nordic identity to be meaningful, there are also significant differences between each of the five countries.)

Soila’s introduction sets out the reasons for the approach to selection and the conscious attempt to avoid the “list of canonised feature films that the cultural industries, as well as literature abroad, usually present as ‘interesting’ or ‘culturally valuable’ or , even worse, ‘typical for Scandinavia’”. Thus the attempt to have a serious look at the porn films which helped several smaller companies stay in business at a time of crisis, at the folksy comedies and at the children’s films, advertising films and documentaries. The introduction is extremely useful and I hope that I can learn from the approach adopted in the chapters, even though I haven’t seen the film being discussed. It some cases I have seen other films by the same director or similar films by other directors. I should add that many of Roy Andersson’s other TV commercials are available on YouTube and very funny they are. I don’t think I can hold the editor of this collection responsible for the fact that most of these films are not available in the UK so having waited several months for Amazon to find me a copy I’m just going to read it and get the most from it that I can.

Posted in Book Reviews, Danish Cinema, Finnish Cinema, Nordic Cinema, Norwegian Cinema, Swedish Cinema | Leave a Comment »

Together (Tillsammans, Sweden/Denmark/Italy 2000)

Posted by keith1942 on 16 November 2011

Anna with Elizabeth

Sweden/Denmark/ Italy 2000. In colour with English subtitles.

Scripted and directed by Lukas Moodysson.

The film opens on November 20th 1975. A radio newsreader announces the death in Spain of General Franco. Göran (Gustaf Hammarsten) and his friends celebrate: I remember celebrating myself when I heard the news back then. It is a great way to open a film and this social comedy maintains the pleasure and interest through most of its 106 minutes. In fact, audience response was strong enough for it to get a second screening over the coming weekend at the Leeds International Film Festival.

Göran is a member of a commune, symbolised by the film’s title, which is also seen painted on the multi-coloured camping van that is driver around. Göran is affable, long suffering and eager to please most of the time. The disruption to this little community arrives in the shape of his sister Elizabeth Lisa Lindgren), fleeing her violent (after alcohol) husband Rolf (Mikael Nyqvist). She is accompanied by her two children, Eva (Emma Samuelsson) and Stefan (Sam Kessel): both are continually bemused by the behaviour of the adults around them. In the commune we have Göran’s less-than-faithful partner Lena. There is the separated couple of Anna (Jessica Lindberg) and Lasse (Ola Novell) with their son Tet (Axel Zuber, you can guess the source of his name). Lasse’s response to the martial break-up is an air of sarcasm: Anna has embraced lesbianism, possibly the cause of the break-up. The main butt of Lasse’s sarcasm is Erik (Olle Sarre), a middle class convert to Marxism-Leninism who has taken up a proletarian job, though he shows little acquaintance with the actual writings of Marx, Engels or Lenin. Lasse is also the object of gay Klas. Then there are Signe (Cecilia Frode), Sigvard (Lars Frode) and Mäne (Emil Moodysson); a family fervently committed to anti-materialism who move out (with the camping van) when a television arrives in the house.

The activities of the commune are watched (sometimes from behind lace curtains) by neighbours Ragnar (Claes Hartellus), Margit (Therese Brunnander) and their son Fredrik (Henrik Lundström). Ragnar (along with Lena) is the really the only unsympathetic character in the story, striking his son when he develops a friendship with Eva, and sneaking off to masturbate in his basement workshop. Finally there is Rolf’s friend Birger (Sten Ljunggren) separated and lonely.

As with his previous film Show Me Love (1998, Fucking Ámal) Moodysson combined a strong empathy with his characters with an open and fairly explicit treatment of their lives and relationships. Whilst the films gently sends up the values of the 1970s and its protest groups, there is clearly both warmth and sympathy for these representatives of the alternative society. The film is very funny and the distinctive characters developed in fascinating ways. Two recurring scenes in the film involve firstly washing and up and then communal football. Both cast a revealing eye on the situation. Director of Photography Ulf Brantás makes effective use of natural light and a hand-held camera, (though this is not a Dogme film).

Some sense of the film’s final comment on this community can be gauged by noting that it opens and closes with Abba’s song ‘SOS’; and that the other song to be aired twice in the film is Peps Persson’s rendering of ‘Love Hurts’.

Posted in Festivals and Conferences, Nordic Cinema, Swedish Cinema | Tagged: | Leave a Comment »

Fuerteventura (Sweden 2010)

Posted by keith1942 on 10 November 2011

Maite with Jesper

Leeds International Film Festival

Sweden 2010. 83 minutes, with English subtitles. Director, co-producer and co-scriptwriter: Mattias Sandström.

Fuerteventura is part of the Canary Islands. This is the main setting for the tale of young Jesper, alone on a surfing and clubbing holiday. He becomes fascinated with one of the hotel maids, Maite, who resembles a young woman called Lina who we see in a series of flashbacks. Jesper’s relationship with Maite is complicated by language (the film uses Swedish, Spanish and English) but also by his memories. What makes the story more intriguing is the uncertainty as to how much of it ‘is real’, (as the director claimed jokingly?). Much of the film plays like a dream: more a set of daydreams than the more fantastic night-time dreams we do not always remember.

There is a recurring scene with a character (real or dreamt?) who is a barman. In a manner similar to one in Inception he suggests counting fingers can help distinguish between the world of reality and that of dreams.

The director and his fellow producer and writer Ivica Subak were there and took a Q & A after the screening. In turned out that whilst Fuerteventura was the inspiration for the film’s setting it was actually shot on Grand Canaria. This was partly due to the wider variety of settings and locations available on the larger island. To obtain the particular visual and sound quality the film was shot on a Nikon DSLR 90 digital camera. Mattias was pleased that this was the first film to enjoy the camera with a 24-fps facility. It was screened here on 35mm and Mattias and his collaborator had paid special attention to the transfer and the image qualities produced. The film makes good use of these settings, and frequent shallow focus. And this and the texture of the colour contribute to the sense of a dream world: Mattias stated he wanted the sort of effect obtained on Super 8 film. The sound is also distinctive; they aimed at a somewhat stylised sound design, with it foregrounded in the treatment. There were a couple of club disco scenes that I found slightly over-forceful.

Mattias and Ivica worked from an eight page treatment/script, without dialogue. So whilst the overall plot was carefully developed the actual scenes in the film were mainly improvised. Mattias stated that he wanted the settings to influence the feel of scenes and performance. Ivica lives and works in Sweden but is originally from Croatia. His input seems to have been particularly strong in the way that language is developed in the film.

One of the bonuses of working in the Canary Island was that they discovered unusual hospitality for filmmakers. Businesses like bars and restaurants seemed very happy to allow them to set up, arrange and film in these locales. This meant there were a lot of non-professional extras in scenes, hastily contracted to the production.

Their completed film seemed to go down well with the Festival audience. The playing with dreams and reality is very effective, and the visual treatment in the film emphases this. I did feel that such a world of dreams would have been less prosaic, and the resolution seemed a little predictable. But it is an intriguing and distinctive film.

Posted in Festivals and Conferences, Nordic Cinema, Swedish Cinema | Tagged: | 1 Comment »

 
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