A LAST FAREWELL (Ett sista farväl) is both a calm and an upsetting portrait of an ageing author’s sorrow over the death of his long-term partner. Haunted by visions of his late partner, and in conflict with his daughter who is trying to renew the ties between them, he must tackle the impossible task of moving on and finding peace in the wake of a devastating loss.
Johan and his father have lived at sea for as long as Johan can remember. Or at least since he was three and his mother disappeared. Johan likes the ship. It has a greenhouse where they grow carrots, and it has fishing nets. Johan is good at diving and at mechanics, and helps his father repair the ship. One day when Johan’s father goes for provisions and Johan is left alone on the boat, he receives a distress call on the radio with a clue about his mother’s whereabouts…
VICTIM-MENTALITY RHETORIC (Offerrollsretorik) is a tragicomic portrayal of the female, manipulative, victim-mentality rhetoric. The film features different generations of women who have slipped into the role of victim – something they consider being assigned, but which they also subconsciously use. Made with striking precision, the short is the debut of director Katja Wik, screened in Cannes Short Film Corner 2012.
THE YEARNING ROOM is a romantic sex mystery that explores the boundaries between the body and the surrounding world. Anne spends the summer at her friend Julia’s summer house. This is the summer that Anne meets Olle. This is the summer that Julia betrays her. This is the summer that Anne commits the crime. Or was it an accident? A dream? As Julia’s disloyalty grows on Anne, her need of restoration is awakened. Somewhere between fantasy and reality, Anne regains her sense of self in the present.
I believe that certain narratives leave an imprint on our most private sphere. Romance tells us that our central measure of self-being is to be desirable for someone else. Traditionally the woman prepares and then she waits. This waiting is a state of readiness, an anticipation of fulfillment. By using a cinematic language that resembles that which is really being scrutinized, I hope that The Yearning Room will create a tension between distance and empathy.
The student campus Flogsta was built in Uppsala, Sweden, in the 1970’s. Since then the Flogsta roar has happened every evening at 22.00. This is the moment when hundreds of students unleash their anxiety at the same time and scream out of the windows. A very unique tradition.
”The Flogsta Roar” is a 18 minutes short documentary for TV and film festivals. Director and producer Johan Palmgren.
It’s the last weekend of summer and a circle of old friends have gathered to celebrate Carl’s birthday in his family’s summer house on the west coast of Sweden. Carl’s beautiful cousin Stina has just moved back from London to resettle in Sweden, and brings devoted British boyfriend Nick along for the festivities. Their relationship is already fraying due to the transition, and is exacerbated over the weekend by Nick’s inability to fit in or grasp the language and rituals of the group.
As the weekend becomes ever more bawdy, Stina finds herself annoyed by Nick’s cloying vulnerability, and fascinated by her cocky, charismatic cousin. When Stina’s flirtations with Carl provoke Nick, the boozy party escalates into a blur of taboo-laden conflict and an explosive investigation of love and commitment.
In the main roles Sara Blomqvist stars in her feature debut, alongside leads Tom Stanley and Kalle Josephson, giving us a depiction of modern day relationships replete with both cutting humour and sinister overtones.
‘Pundersons Gardens’ first fiction feature is a story of friendship and love gone wrong. Co-produced with Gothenburgs Shoot&Post and entirely shot in Sweden, it is also the feature debut from directors Johan von Reybekiel and Marcus Werner Hed.
“De mänskliga rättigheterna är universella och gäller för alla och envar. De slår fast att alla människor, oavsett land, kultur och sammanhang, är födda fria och lika i värde och rättigheter.”
De mänskliga rättigheterna talar sitt tydliga språk, men varför behövs det då ändå frivilligorganisationer runt de rättslösa för att överleva i Sverige?
Detta är en film som undrar om en människa kan vara illegal enbart genom att finnas till. Vad är svenskt och vem är svensk? Vad innebär gemenskap och hur känns det att stå utanför? Hur ser det ut där, dit mänskliga rättigheter inte når?
To promote their book BOSNIAN FLAT DOG, Swedish comics creators Max Andersson and Lars Sjunnesson tour the countries of former Yugoslavia with a mummyfied Marshal Tito in a refrigerator.
Watching border controls turn into improvised snapshot sessions, admiring mutant iron-curtain Disney toys, buying souvenir grenade shell handicrafts and discovering sniper art galleries in blown-out apartments, they find that truth may indeed be stranger than fiction.
Max Andersson’s feature film debut operates on multiple levels to achieve a rare synthesis of form and content. The combination of animated crumbling, fragmentary garbage characters and grainy black and white super 8 mixed with documentary MiniDV looks like nothing else but seems perfectly natural.
A roller coaster ride through a parallel universe where all borders are disintegrating – at the same time tragic, poetic and hilariously funny.
EATING LUNCH (Äta Lunch) is about the fifteen-year old Klara, who is about to eat lunch with four other youngsters at the Eating Disorder Clinic under supervision of nurses. They have 30 minutes to eat up.
The film is directed by Sanna Lenken and has its Swedish premiere at Gothenburg International Film Festival (Jan 25 – Feb 4), where it is nominated for a Best Swedish Short Award.