# 3 2015 • The documentary issue

Russian explorer Jerzy Sladkowski heads for IDFA with his intimate portrait Don Juan. On top of the world Swedish dance duo boss the hip-hop scene in Tora Mkandawire Mårtens’ Martha & Niki. Becoming Zlatan The Gertten brothers’ film about the kid from southern Sweden who became one of the world’s top footballers.

A magazine from the Swedish Film Institute • sfi.se 1 ContentContents Kolla all pagina 31

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22 16 25 HÄLLQVIST FRANS ALFREDSSON, KARIN KNUDSEN, IDA BERGMARK, JOHAN STORY, ASPLUND, EMELIE LEFT: TOP FROM CLOCKWISE

4 News 18 Final cut 28 Civil rights hero Johar Bendjelloul announces a documentary film fund in Erik Gandini is in the limelight at CPH:DOX. Here he talks Described as a Swedish Martin Luther King, Katarina honour of his late brother Malik Bendjelloul, international about his latest projects and his fruitful collaboration with Taikon stood up for the Roma community and brought festival programmers talk about documentary trends plus editor Johan Söderberg. about important political changes. With their documentary lots of fun facts and figures. Taikon, Lawen Mohtadi and Gellert Tamas hope to 22 Breaking good reinstate this forgotten hero. 10 Becoming Zlatan In 2010 Martha Nabwire and Niki Tsappos became the Brothers Fredrik and Magnus Gertten follow footballer first women ever to win the World Championships in 31 Behind the mob scene Zlatan Ibrahimovic through a crucial period in his career. hip-hop dance. Tora Mkandawire Mårtens reveals what Plattform director Maximilien van Aertryck delves into the happened next. world of the mafia. 14 Drama as therapy Jerzy Sladkowski has been selected for IDFA Competi- 25 Ellen Fiske 32 Life during wartime tion with Don Juan, an amusing yet painful portrait of In her graduation film Lone Dads, Ellen Fiske zooms in on In The Girl Who Saved My Life, Hogir Hirori risks 22-year-old Oleg. parent-child relationships. everything in order to depict his fellow countrymen under IS attack in Iraqi Kurdistan. 16 Theresa Traore Dahlberg 26 Staying clean Theresa Traore Dahlberg’s Ouaga Girls is a poetic Down, out and on heroin in the streets of Malmö. Jessica 35 New docs coming-of-age story exploring gender and social rules. Nettelbladt’s MonaLisa Story is an intimate portrait of an All the latest Swedish films… addict struggling to cope. 42 New Shorts …and the shorts too.

2 Welcome

Director, International Department Pia Lundberg Phone: +46 70 692 79 80 [email protected]

Festivals, features Gunnar Almér Phone: +46 70 640 46 56 [email protected]

The future looks bright Festivals, documentaries Sara Rüster Phone: +46 76 117 26 78 Swedish documentaries are on a roll. Much in an age when such films are searching for [email protected] success at the box office in recent years has those audiences. At the same time, docu- come to documentaries, or hybrids. In a short mentaries are going from strength to Festivals, shorts space of time we in Sweden have witnessed strength. We all know that documentaries Theo Tsappos Searching for Sugar Man (2012) by Malik command huge audiences on television and Phone: +46 76 779 11 33 Bendjelloul, Maud Nycander and Kristina video-on-demand platforms, but now they [email protected] Lindström’s documentary about our former are attracting large audiences to our cine- prime minister Olof Palme, Anna Odell’s The mas too. Reunion (Återträffen 2013) and A Thousand Given the dramatic changes that society Special projects Pieces (Tusen bitar 2014) by Magnus Gertten is undergoing, this is a pleasing develop- Petter Mattsson and Stefan Berg. And this autumn, Stig ment. We need the kind of stories that bring Phone +46 70 607 11 34 [email protected] Björkman’s Ingrid Bergman – In Her Own us together and get us talking. This makes Words (Jag är Ingrid 2015) is going down a us especially proud that Sweden has ten

storm in our cinemas. films selected for the major docs festival Special projects The fact that people have a craving for IDFA and eight films at CPH:DOX. These Brita Osafo authentic stories says something about our films represent a range of themes as diverse Phone: +46 76 501 16 46 times. It may also say something about the as life itself: there are biopics of people liv- [email protected] deconstruction of journalism in the age of the ing and dead, stories of refugee movements digital revolution. Journalism which not only past and present and dreams of young peo- aims to constrain the powers that be, but also ple in music and sports. Head of Communications to portray power and society from the peo- The filmmakers are young and old, wom- & Public Relations Rebecka Ioannidis Lindberg ple’s point of view, finds it hard to carry out en and men from different cultural back- Phone: +46 76 501 20 73 that task when business logic has shifted from grounds. They inspire a sense of optimism [email protected] analogue to digital. for the future of Swedish documentary film- Unfortunately, documentary filmmakers making which we hope you will share. Press Officer have never enjoyed the luxury of financial Jan Göransson security, always having to fight to get their Phone: +46 70 603 03 62 films made. What they do is so much more [email protected] than merely expose society: they are artists who bring stories to life and give them time to develop. Presenting us with nuggets of truth, their art enables us to reflect on ourselves and the age in which we live. Swedish Film Institute We have been accustomed to major feature International Department films bringing audiences flocking to the cin- Anna Serner P.O. Box 27126 ema for a shared experience. But we now live CEO, Swedish Film Institute SE-102 52 Stockholm, Sweden Phone: +46 8 665 11 00 Fax: +46 8 661 18 20 sfi.se

www.twitter.com/swedishfilm

www.instagram.com/swedishfilm Issued by The Swedish Film Institute Publisher Pia Lundberg Editors Jon Asp, Bo Madestrand Art Directors Markus Edin, Johan Olsson Contributing Editors Brita Osafo, Sara Rüster The Swedish Film Institute works to promote film across the Contributors Jenny Damberg, Malin Krutmeijer, Camilla Larsson, Sebastian Lindvall, Lars Nylin, board – from idea to finished product, during launch in Sweden Per Nyström, Niklas Wahllöf Photography Karin Alfredsson, Erik Ardelius, Emelie Asplund, Johan Bergmark, and around the world, and by preserving films for posterity in our archives. Ida Knudsen, Bezav Mahmod Cover photo Fred Ernst/TT Bild Translation Derek Jones ISSN 1654-0050 Print Elanders Advertising Fredrik Johnsson [email protected]

3 News

170 2 3 4 Swedes have so far seen Stig Björkman’s documentary Ingrid Bergman – In Her Own Words (Jag är Ingrid, 2015) about the legendary actress. Pictured here, Bergman’s children Roberto Rossellini, Ingrid Rosse­ llini, Isabella Rossellini and Pia Lindström attend the film’s gala premiere at the Royal Dramatic Theatre in Stockholm, where their mother started her career. CONNY HALLBERG CONNY

Remembering Malik

On 24 February 2013 director that their projects should be Malik Bendjelloul won an Oscar creative, built on strong storylines 2016 for his documentary Searching for and have a do-it-yourself The year Sweden will be Sugar Man (2012), a box office approach.” guest country at the hit about the forgotten musician What does the foundation Krakow Film Festival, one Sixto Rodriguez. Just over a year mean to you personally? of the oldest film events later, following a short period of “It’s partly therapeutic: it dedicated to documentary, depression, he took his own life. enables me to remember my animated and short fiction Now the director’s brother, brother and to make something films in Europe. journalist Johar Bendjelloul, is Bendjelloul. “Malik had trouble positive out of the terrible thing setting up a foundation in his funding Sugar Man, to the extent that happened. Plus I don’t want honour, together with the that he had to film some sequenc- him just to fade away, I want him documentary filmmaker Malcolm es on his mobile phone and do his to be remembered for something Dixelius. The Malik Bendjelloul own animations. It would have inspiring and positive.” Foundation, financed in part by been a great help to him if a Do you have any film plans private donations and a crowd- foundation like this had existed at yourself? funding campaign (see www. the time.” “Absolutely not! I’m far too malikfund.org), is primarily Who is eligible to apply for impatient. I work with live intended to support new filmmak- grants from the foundation? broadcasts, the complete Searching for Sugar Man is ers who have difficulty financing “We’re aiming to help filmmak- opposite of the patient and no.9 9 when New York their productions. ers who are active in Sweden, but single-minded approach you need Entertainment website “The main problems facing we interpret that in quite a liberal for working on a documentary Vulture lists the 50 best music documentary makers are money, way. They should also be working film.” documentaries of all time.

SVEN-ÅKE VISÉN (MALIK BENDJELLOUL) (MALIK VISÉN SVEN-ÅKE money and money,” says Johar in the spirit of Malik, which means Bo Madestrand

4 2

Comments on the Swedish doc success “If you’ve seen Search- “A clear ing for Sugar Man at vision of the cinema you’ll be how to more inclined to see In- mould the grid Bergman – In Her documentary material

Own Words. There has to an engaging story IDFA been a snowball effect from the director and STORY that has bolstered producer in tandem, audiences’ interest and with a focus on distri- This sporting life awareness for the fact bution that emboldens The film series Sport Kids comprises six 30-minute films on the theme of children involved in sport. We follow six different children from six that there are high you to launch the film different countries who are competing in sports as diverse as fencing, quality Swedish docu- on a broad platform sumo wrestling and cheerleading. The films take a close look at what mentaries to be seen without compromising happens outside their various competitions, how the children see the world around them and how sport can be both a liberation and a at the cinema” its credibility” burden in their lives. Jenny Stjernströmer Jakob Abrahamsson, CEO Nonstop The series is a Nordic co-production between the production Björk, Executive Vice Entertainment. companies Story in Sweden, Final Cut for Real in Denmark and Sant & President Acquisition and Co-Production AB Usant in Norway. Svensk Filmindustri. Three of the films, Hanna Heilborn’s Ruth (2015), Erlend E. Mo’s Dancing For You (2015) and Victor Kossakovsky’s Varicella (2015) have been selected by IDFA Competition for Kids & Docs. Per Nyström Life before death New research has shown that brain activity reaches a peak in the moments before we die. Our perception of time is said to CPH:DOX disappear, leading some people to believe that it is possible to experience eternity at the point of our death. In Maria Bäck’s most recent film I Remember When I Die (2015), this theme is explored in stark images from a hospice in Denmark. The director has interviewed patients at the very end of their lives and asked them to choose a memory to think about on their deathbeds. Mixing fiction and reality, Maria Bäck has created a poetic reflection on memory, life and death. The film has been selected for the Nordic Competition section of CPH:DOX.

Per Nyström HAUSWOLFF VON MARIA

5 News CPH:DOX Loving the alien In the summer of 1946 the Swedish armed forces received numerous reports of unidentified, cigar-like flying objects which often landed on lakes and sub- sequently seemed to disappear. Despite the fact that considerable resources were employed to explain these phenomena, popularly referred to as “ghost rockets”, they have remained a mystery right up to this day. In 2012 the organisation UFO

Sweden, headed by the science CAVANAGH MICHAEL journalist Clas Svahn, undertook an expedition to a lake in the Cavanagh and Kerstin Übelacker. solving the mystery of the ghost has quite a lot to say about north of Sweden to investigate a Unlike the sensationalism of rockets. The filmmakers have friendship, growing older and relatively newly-reported fall of many other UFO documentaries, also included some of UFO getting involved in something one such ghost rocket. their film does not speculate on Sweden’s members’ philosophical together,” Kerstin Übelacker UFO Sweden and this the existence of extra-terrestrial discussions on the nature of our observes. expedition is also the subject of life, but on the organisation’s existence here on earth. Ghost Rockets will be in Nordic Ghost Rockets (2015), a new methodical, rational and frankly “As we were filming we competition at CPH:DOX. documentary by Michael rather Swedish approach to increasingly realised that the film Per Nyström

The mystery of Esau

BA programmes for In 2011 many of Western CPH:DOX Europe’s major cities were acting, performing arts, shaken by street rioting. In film and media London a YouTube clip of a man robbing an injured man during the course of one riot went viral • Acting on the Internet. Social media • Animated Film quickly established the • Costume Design assailant, whose name was Esau, as a symbol of the

• Documentary Film KUYLENSTIERNA LODE opportunistic mind-set of a • Lighting Design robber. Three days after the and the social media help to • Make up- and Wig Design video was uploaded to YouTube, create. • Mime Acting Esau was found dead in Homo Sacer (2015), the • Playwriting/Dramaturgy for Dramatic Arts Gibraltar. film’s Latin title, can mean both One person fascinated by condemned man and holy man. • Production Management for Performing Arts this human story was Lode This ambiguity is one of the • Radio Kuylenstierna, who has now themes of the film, not only in • Set Design made an artistic and investiga- terms of the two sides of Esau’s • Sound Design tive documentary in which he personality, but also at the has interviewed people who higher level of society itself. • Technical Theatre were in some way involved with “The riots in Europe were • Television Esau. The film is loosely based taking place at roughly the • Theatre Directing on a play about the mystery of same time as the Arab Spring in Esau written by Dag Kuylensti- the Middle East. It was a erna, the director’s brother. The dichotomy that I found fascinat- ing,” says Lode Kuylenstierna. sada.se or stdh.se inclusion of auditions for his Last day of application: 11 January 2016 brother’s play in the film makes Homo Sacer will be in Nordic the audience aware of the competition at CPH:DOX. constructed reality that cinema Per Nyström

6 After his eagerly anticipated feature film The Yard, set to ­premiere early next year, Måns Månsson has teamed up once again with Avalon director Axel Petersén. The Real Up next Estate examines Stockholm’s housing bubble. Director Måns Månsson likes to “will strike a balance between explore the margins of film. With appearing to be something and not interesting combinations of always meeting that expectation.” subject and aesthetics – such as “The Yard is definitely a his Guldbagge-nominated cinéma straightforward fiction film with vérité portraits The Kinch (Kinchen, 90 pages of a dialogue-driven 2005) and Mr Governor (H:r script, but the big challenge for Landshövding, 2008), or the me has always been to make a study of an obsessive detective film of a book that appears to be Roland Hassel (Hassel – un-filmable.” Privatspanarna, 2012) – he Next spring’s cinema release enjoys defying our expectations. of the film will be followed by a So it’s no surprise that reunion with director Axel Månsson now brings us The Yard Petersén, for whose Toronto (Yarden, 2016), his film version award-winning Avalon (2011)

NIMA SARVESTANI NIMA of author Kristian Lundberg’s Månsson was behind the autobiographical study of the camera. An Emmy Award for No Burqas Behind Bars helped to hard grind of working life in the Their upcoming collaboration secure the release of two female Afghani prisoners. Now, southern Swedish port of Malmö. The Real Estate takes a look at with Prison Sisters, Nima Sarvestani and Maryam “Kristian wisely opted to give Stockholm’s housing bubble. Ebrahim follow up on their story. us a free hand. For me his work “It’s going to be more docu- had never seemed particularly mentary than fiction, but there The success of the first film, to make a film about it. interesting, being primarily about again, you never know…” buoyed up by a Guldbagge But when they tried to find a place,” Månsson observes. The Real Estate will be pitched nomination and an Emmy Award Najibeh, the story took a tragic Like his previous features at CPH:DOX Forum. for best documentary, helped to turn. Månsson is hoping that The Yard Sebastian Lindvall bring about the closure of the “We found out that she had notorious Thakhar prison. been released from a prison in “That fact alone is a strong Kabul, but had apparently reason to feel good about having disappeared without trace. made the film,” Nima Sarvestani Finally we tracked down one of observes. the guards who had known her Hearing that Sara’s life was in well. He told us that Najibeh had danger they managed to get her been stoned to death in her into a safe house. She was flown home village. That made us more over for the premiere of the film determined than ever to seek to Sweden, where she applied out the truth,” says Nima for asylum. The two filmmakers Sarvestani. documented her journey and Prison Sisters will be pitched signed an agreement with the at the IDFA Forum.

public service broadcaster SVT Sebastian Lindvall MÅNSSON MÅNS

festivals worldwide have screened Fredrik Gertten’s Bikes vs Cars since its premiere in March 2015. The film has won a number of awards, the latest of which was the Grand Prize for Best International Documentary at the Cinemambiente Environmental Film Festival in Turin. To coincide with some of these screenings, Gertten has organised bike rides which have attracted hundreds of participants including one in that bastion of the automo- bile, Los Angeles. Bikes vs Cars is selected for the TopDox section at CPH:DOX. 36 FILM WG 7 News Meet the programmers Swedish Film attended Nordisk Panorama – the Nordic short and doc festival in Malmö in September and gathered some prominent programming voices to speak about documentary trends, Nordic icons and their best advice for aspiring filmmakers.

Do you see any general What’s your best advice trends in documentary for a documentary 1filmmaking? 3filmmaker aspiring for your festival/sales compa­ Angie Driscoll, program- Jim Kolmar, programmer In Sweden we witness ny? a trend with successful mer Nordisk Panorama and South by Southwest 2documentaries on Which is your favourite Hot Docs (SXSW) Swedish icons like Olof festival, not counting Palme, Ingrid Bergman etc. 4Nordisk Panorama and 1. More and more hybrid docs 1. I’m interested to see contin- Which Nordic personality your own? that use narrative/fiction ued interest in innovative hybrid would you like to see a elements in their non-fiction approaches, blurring the lines documentary on next time? Text Jon Asp storytelling. An increase in the between fiction and documenta- fusion and creative licence with ry. I’m not sure that this is a new fiction and non-fiction. So trend as such, but it’s certainly a exciting! More longitudinal docs compelling one, and in the right modern Swedish character that that achieve substantive access hands artifice can serve an international audience might and personal scope thanks to documentary aims to great be drawn to. Of course, Malik years of investment on the effect. Lina Mannheimer’s Bendjelloul has to be on this list. filmmakers’ part. More films shot extraordinary The Ceremony in places outside of the produc- (Ceremonin, 2015) springs to 3. Make a documentary about tion country’s origin. mind. something you know. Strive to

BRANDON JOSEPH BAKER BRANDON JOSEPH honour the story and the 2. I’m a big fan of Roy Anders- characters in it. Don’t be afraid to “Make a compelling, son, so that would be very Hussain Currimbhoy, experiment with the shape of innovative, boundary- welcome. programmer Sundance your story. Watch lots of films, pushing and mind- docs and fiction, before you make expanding film and 3. Don’t send us your film until it’s 1. I’m seeing strong docs that it. Make it cinematic. you’ll be just fine” ready! We’ll only watch that one have more of an artist texture, cut, so make sure it’s the one you 4. I would say Biografilm Festival with a deeper consideration for want us to see. Take your time in Bologna, Italy was a recent cinematic aesthetic. There is a and make the film you want to favourite. The city is wonderful, growing shift toward utilising 2. Lars von Trier? The Swedish make. We can always tell when the staff were so nice. A well Virtual Reality and interactive DJs that have emerged recently something has been rushed. curated programme connected platforms to convey a story. We from the electronic/rave scene: with really fun outdoor screen- are seeing citizen journalists and Avicii, Swedish House Mafia… 4. Huge question, but lately I had ings and music events. It artists taking risks with new a great experience at Finnish attracted a great balance in the technology. That is certainly an 3. Make a compelling, innovative, Film Affair/Love and Anarchy, audiences I saw. exciting development. boundary-pushing and mind-ex- and of course it’s hard to beat panding film and you’ll be just Cannes. 2. I loved Hjalmar Söderberg’s “I loved Hjalmar fine, we have passionate novel Doctor Glas and always programmers that want to help wanted to know more about him. Söderberg’s novel filmmakers find audiences in the “I’m interested to see He was a fascinating character Doctor Glas and always public and industry so bring it on! continued interest and a brilliant writer. Markus wanted to know more in innovative ‘hybrid’ Persson (Minecraft’s creator) and about him. He was a 4. Slamdance, Minimalen at approaches, blurring the his story would be a wild doc that fascinating character Trondheim and I also admire this lines between fiction I would love to see. The racer year’s programming at Odense’s Marcus Ericson is an under-sung and a brilliant writer” Short Film Festival. and documentary”

8 News

IDFA SKOGKVIST/THELMA&LOUISE AUTO IMAGES

Grit Lemke, programmer Gitte Hansen, sales Double up in Hamburg Doc Leipzig agent First Hand Films The documentary Nice People goal nonetheless was to partici- (Filip & Fredrik presenterar Trevligt pate in in the World Champion- 1. Genre borders are blurring 1. Buyers ask for films with a folk, 2015) was one of this year’s ships in Siberia. and there’s a much bigger strong narrative and multiple unexpected hits, clocking up Accompanied and with richness of artistic expression. layers, and they absolutely need 124,000 Swedish cinema comments by the well-known There seems to be no “iron rule” to have their viewers entertained admissions. Then in early Swedish entertainment duo about what is allowed and what all the way. The observational, October the film triumphed at Fredrik Wikingsson and Filip isn’t anymore. It’s just about film social film is difficult to sell today, Filmfest Hamburg, voted Hammar, the film follows the which I like very much. One unfortunately. Theatrical releases overwhelmingly as the recipient young Somalis on their journey. trend that I don’t like at all is an today are partly defined by of the first Commerzbank A new sidebar at Filmfest “Americanisation” of documen- expanded festival and event Audience Award. Hamburg dedicated to socially tary which means that it distribution – a tendency that ”A feel-good immigrant movie,” committed films was launched becomes one-dimensional, provides new opportunities to said Karin af Klintberg, co-director this year. Magnus Gertten’s simplifying complex issues and reach audiences. with Anders Helgeson, when documentary Every Face Has a always dramatizing everything accepting the award. Name (2015), about the fates of by music that never stops... It’s 2. A smart, well-told, entertaining As a part of an integration Holocaust survivors, was awarded increasing in Europe as well, series about great Nordic project, Nice People features a best political film in this new section. and since these are the films designers. It would be great to group of refugees who founded Both Every Face Has a Name with the biggest production explore the history of our the first ever Somali team for and Nice People will also be value they make it to the big societies through great design bandy, a form of ice hockey that’s screened as part of the Best of festivals and awards, which I find and designers told in various highly popular in Sweden. Never Fests section at IDFA. really scary. themes. Of course it should having worn skates before, their Jon Asp include Marimekko.

“Submit! At the earliest Swedes have seen convenience and not 3. Define what you want for your film. Theatrical releases around the feelgood docu- after the film has been the world? Mainly online mentary Nice People screened somewhere distribution? Traditional TV sales? since its premiere in January 2015. else. Submit rough Big campaign? What are your ambitions and goals – and ask 124 107 cuts!” yourself how you want to reach them. Speaking out IDFA 2. 4. I don’t evaluate films by their IDFA is a fantastic celebration In Åsa Ekman’s new documenta- subject. Maybe Zlatan Ibrahi- of great films, the best filmmak- ry Say Something (2015) we movic? Or ABBA? ers and colleagues – with oldies meet 18-year-old Isabelle, an and youngsters from the ordinary Swedish girl who’s had 3. Submit! At the earliest passionate international docu- an unusual and sometimes convenience and not after the mentary community. I have traumatic upbringing. For three TELL AND EKMAN/FILM ÅSA film has been screened attended this event for more than years her mother lived with a man damaged mother-daughter somewhere else. Submit rough 20 years and always return home who abused her both physically relationship. It’s the concluding cuts! with a bag full of inspiration, new and verbally, something which film of a two-part documentary deals, new projects and films. naturally impacted on Isabelle about children who have 4. The best experiences one can herself. During this difficult experienced violence in their have are at small Eastern period she found it increasingly relationships with those around European festivals like Cronograf “IDFA is a fantastic celebration of great hard to reach out to her mother. them. in Moldova or Astra in Romania. Say Something is a film about the Say Something will premiere in There you can find real dedica- films, the best filmmak- legacy of such behaviour and the the Panorama section at IDFA. tion! ers and colleagues” difficulties of repairing a Per Nyström

9 10 BECOMING ZLATAN Zlatan vs the world In 2001, Dutch team Ajax recruited a promising young talent from Malmö, Sweden. This was the first step on Zlatan Ibrahimovic’s road to soccer stardom. In Becoming Zlatan, Magnus and Fredrik Gertten

­present an in-depth portrait of Zlatan’s formative years. IDFA

Text Lars Nylin t’s a Swedish football fairy 2001 are strongly documented in Photo Erik Ardelius tale. Zlatan Ibrahimovic was Magnus and Fredrik Gertten’s Production info p. 36 Ithe cocky young ball wizard film Becoming Zlatan (2015). On from the wrong side of town their home soil back in 2002 the who’d been bought by Ajax from brothers made the highly Malmö FF for a record fee and acclaimed and successful Vägen was about to start earning big tillbaka – Blådårar 2 (True Blue 2 money himself. But all alone in a – The Way Back, 2002), a film suburb of Amsterdam, he was about Malmö FF and the club’s suffering. He’d run out of money journey back to the top division of and his first pay packet hadn’t Swedish football, a campaign in arrived. He’d sold his car. He which Zlatan played a key role. didn’t know anyone and he was Thirteen years later, after suc- bitter at his former club for not cessful parallel careers both for giving him a proper send off. In Zlatan and the brothers them- desperation he called Maxwell, selves, Fredrik and Magnus have one of his new teammates, say- up sleeping on an airbed at Max- joined forces once again to ing: “I don’t even have any corn- well’s place for a whole month. explore aspects of the same flakes, can I move in with you?” Ibrahimovic’s early days in theme. In their new filmBecom - Fredrik and Magnus­ Gertten. The answer was yes, and he ended Amsterdam in the autumn of ing Zlatan, they’ve been delving

11 Magnus and Fredrik Gertten Brothers Magnus (born 1953) and Fredrik (born 1956) Gertten made their joint debut with the football documentary True Blue (Blådårar, 1998) and its subsequent follow- up True Blue 2 – The Way Back (Vägen tillbaka – Blådårar 2, 2002). Since then, Fredrik has turned his eye on big corporations in interna- tionally acclaimed documentaries such as Bananas!* (2009), Big Boys Gone Bananas!* (2012) and his recent Bikes vs Cars (2015). Meanwhile, brother Magnus direct- ed award winning documentaries such as Long Distance Love (2008), Harbour of Hope (Hoppets hamn, 2011) and Every Face Has a Name (2015). PIERRE MENS

“What was important for us – as always – was to be able to make a completely independent production where we could shape our story without interference” Fredrik Gertten deep into the football legend’s come on as a sub in a few games. brought to an end Zlatan’s time at ry without interference. We’re early life and career. It ends up in Italy and Juventus, Ajax. All these elements feature confident that Zlatan will like it “We start the film with the where he made his real interna- in the film. and will nod in agreement with open, candid Zlatan and end it tional breakthrough with the Becoming Zlatan is largely much that he sees. It’s a real hom- with the closed, secretive Zlatan Serie A championship in May built up of unique archive footage, age to its main protagonist,” adds who locks all the doors and keeps 2005. You might say we’ve made most of which has never been Fredrik. us out,” says Magnus Gertten. a kind of coming-of-age story. screened before. This material is How did you find working “Zlatan is an enigma in so many Anyone who thinks that Zlatan complemented by newly-recorded together again? ways, despite the fact that he’s the has had an easy ride will probably interviews with key figures from “We may be brothers but we’re most written-about person in think again when they’ve seen the Zlatan’s time at Ajax and his first also people with different person- Sweden. But during those years film. His three years in Amster- years at Juventus, people like alities. Our own films don’t really we followed him, just prior to his dam, especially, were a constant technical director Leo Beenhak- look alike. Fredrik has often major breakthrough, we picked struggle that might well have end- ker, players Mido, Andy van der worked from a broader political up a lot of clues as to who he real- ed less favourably than they did,” Meyde, Marco van Basten and perspective, whereas I’ve dug ly is.” says Magnus Gertten. Jari Litmanen, the Juventus man- down into complicated personal In Becoming Zlatan we’re pre- What he’s referring to are all ager Fabio Capello and that club’s issues. Fredrik and I haven’t expe- sented with an in-depth portrait of the schisms during those years at highly controversial managing rienced any creative problems the formative years of Zlatan Ajax. The media, for example, director Luciano Moggi, the man working together on this film; in Ibrahimovic, footballer and man. quickly pounced on controversial who took Zlatan to Turin. fact I hope we’ve complemented It takes a special look at his not things that had happened to The brothers explain that it was each other instead. It makes it eas- always positive spell in Amster- Zlatan back in Sweden. Managers never really their intention to try to ier to work together when you dam, fittingly enough the city and coaches were not entirely get Ibrahimovic himself involved have such an experienced and where the film is set to premiere. happy that the Swede was con- in their new film. Their view is that expert editor as Jesper Osmund. What are your hopes for the stantly in the limelight. And he’s spoken enough for himself We go back a long way with him. film? schisms with his fellow players: through his acclaimed autobiogra- He edited Blådårar, Fredrik’s “Both for Swedish and interna- Ajax has always been a pool for phy I am Zlatan Ibrahimovic Bananas!* and my films A Thou- tional audiences we’re hoping it talent, the kind of place where (2011) and the television documen- sand Pieces and Every Face Has will add to an understanding of egos often collide. In 2004 there tary that he financed in 2014. a Name,” says Magnus. ● who Zlatan is and the journey he’s was a particular incident with his “What was important for us – made. Our film starts in 1999, teammate Rafael van der Vaart in as always – was to be able to make Becoming Zlatan is set to pre- when Zlatan hadn’t even played a an international between Sweden a completely independent produc- miere at IDFA in Amsterdam, whole match for MFF: he’d only and Holland that effectively tion where we could shape our sto- 18–29 November.

12 Zlatan Ibrahimovic AFC Ajax, 2001–2004 Eredivisie champion 2001/2002, 2003/2004 Juventus F.C., 2004–2005 Serie A champion 2004/2005, 2005/2006 Inter Milan, 2006–2008 Serie A champion 2006/2007, 2007/2008, 2008/2009 FC Barcelona, 2009–2010 La Liga champion 2009/2010 A.C. Milan, 2010–2011 Serie A champion 2010/2011 Paris Saint-Germain, 2012–

BEATRICE LUNDBORG/TT BILD BEATRICE Ligue 1 champion 2012/2013, 2013/2014, 2014/2015

13 14 DON JUAN Drama as therapy

Jerzy Sladkowski is in competition at IDFA with Don Juan, the second part of his Russian trilogy. Text Camilla Larsson The documentary veteran talks about themes, IDFA Photo Johan Bergmark methods and the trust he places in his audience. Production info p. 37

erzy Sladkowski is always on filming everything that moves, the lookout for stories. In his day and night. I’m not one of Jfestival hit Vodka Factory them. I’ve been in this game a (Vodkafabriken, 2011) he intro- long time and I choose my duced a group of frustrated wom- moments. My aim is to empha- en in the bleak town of Zhiguly- sise and maintain the energy I ovsk, 1000 kilometres south east observe. And I’m not afraid to of Moscow. And now with Don make mistakes. Sometimes I pro- Juan (2015), he brings us the sec- voke scenes when necessary, I set ond part of his film trilogy about the various characters against “the other Russia,” a country that each other. At other times it’s a seldom features in the media. question of waiting. It’s some- “I have a team of people in thing you feel.” GINESTRA FILMS GINESTRA Russia that I work with. We dili- As he prepares for the release gently search for new stories and of Don Juan, Jerzy Sladkowski is new characters to present the “I want to show people who are more than already working on the final part country in a fresh light, to illus- just stereotypical crooks and other low life, and of his Russian trilogy. This time trate the changes taking place to draw on Russia’s great literary tradition at he aims to take on Russia’s liter- and the problems people face. I ary traditions more directly, to want to show people who are the same time” get even closer to the world of more than just stereotypical Jerzy Sladkowski Chekhov. With its working title crooks and other low life, and to of The Confessor, the film will be draw on Russia’s great literary set on a riverboat where the tradition at the same time,” says ing methods. But it’s when the with his rather manic mother and young, newly rich and somewhat director Jerzy Sladkowski. theatre and a drama student enter grandmother I realised that this outlandish Russia is confronted At the time of our meeting the his life that things first start to was where our film lay.” with an old-fashioned hero. ● Polish-born director is just about happen. And eventually the film The director is keen to point to set off on yet another journey. itself becomes part of Oleg’s ther- out that his films tend more He has been making films both in apy. towards art than documentary Sweden and his native country “It’s never my goal, but none- reportage, and that you don’t since the 1980s, but now his focus theless it’s gratifying when you need to explain everything to Jerzy Sladkowski Born 1945 in Poland. Studied film is clearly on Russia. This time it’s can help someone through your your audience: you can demand and television at the School of through the eyes of 22-year-old work,” says Sladkowski. “It start- that they think and interpret Journalism in Warsaw. Oleg, struggling to manage his ed out as a film about a team of things for themselves. He prefers Filmography: He has made more autism in his hometown of Nizh- Russian scientists and psycholo- to work in a structured and than 30 documentaries, beginning ny Novgorod in the hope that one gists who were working in a dif- pared-down way. He prepares with ABC (1985). Won the Prix Italia day he will find love. Surround- ferent way. But when we arrived himself thoroughly and seizes the for Triangle of Death (1990), the European Film Award for Vendetta ing him are his demanding and there I quickly realised that there right opportunities, often shoot- (1996), the Tempo Documentary devoted mother, a stern grand- wasn’t a film to be made of that. ing no more than two hours’ Award and a number of international mother and a number of thera- By chance Oleg came along, and worth of footage each day. festival commendations for Vodka pists with diverse aims and work- when we filmed just one scene “There are those who boast of Factory (Vodkafabriken, 2011).

15 16 New talent

Theresa Traore Dahlberg. A bunch of young women in Burkina Faso train to become car mechanics. In Ouaga Girls, IDFAcademy talent ­Theresa Traore Dahlberg mirrors social rules and differing expectations on gender.

Theresa Traore Dahlberg has been all over the world with her camera. Having spent her early years on the Swedish island of Öland and in Ouagadougou, the capital of Burkina Faso, she went on to study film directing in New York and television production at MOMENTOFILM the Stockholm Academy of Dramatic Arts. In her graduation “There they are, on the year she directed, produced and edited Taxi Sisters (2011), a cusp of adulthood, documentary short about a female ­trying to find their own taxi driver in Dakar, Senegal. “I like the variety of filming in way forward through new locations. In some places you lots of conflicting have constant power cuts, in others you might have to spend opinions” countless hours at the mayor’s Theresa Traore Dahlberg office just to get permission to film in a park,” says Theresa Traore Dahlberg. “What I found interesting was Her debut feature-length how they found themselves documentary Ouaga Girls (2015) between such different worlds takes us to a girls’ school for car amidst all the various expecta- mechanics in Ouagadougou, the tions of them as women,” says city where the director spent Traore Dahlberg. “I wanted to many of her teenage years and show how these girls cope with where she regularly returns to the differing social rules of home, visit friends and family. Around school and the outside world. Christmas someone told her There they are, on the cusp of about a school for girls that had adulthood, trying to find their own been set up as part of a feminist way forward through lots of initiative. She decided to spend conflicting opinions. What is it some time there and to get to that drives them to the choices know these young people who they make?” were struggling to make their way Text Sebastian Lindvall in society. Photo Karin Alfredsson

17 THE SWEDISH THEORY OF LOVE

Final cut IDFA CPH:DOX Despite their political nature, Erik Gandini’s documentaries have a strong musical quality. Gandini puts this down to his long-term editor Johan Söderberg. Their latest films, Cosmopolitanism and The Swedish Theory of Love, are set to screen at CPH:DOX and IDFA.

ith 15 years of collabo- “Documentaries “I admired what Johan was Text Jenny Damberg ration and five major are made in doing with Lucky People Center, Production info p. 41 and 42 Wdocumentaries to their the way he pushed visual bound- names, director Erik Gandini and the editing room” aries in his documentaries. They his editor Johan Söderberg have a Erik Gandini were like musical symphonies well-tested partnership. In films with their foundations in associa- such as Surplus (2003), IDFA tive narratives,” says Erik Gandini. Award winner in 2003, Videocra- why I regard Johan as a sort of It’s a technique that they have cy (2009) and now The Swedish scriptwriter. Recorded footage is continued to develop together. Theory of Love (2015), they have one thing, but something infinite- “When I started making docu- tackled issues from excessive ly greater is created in the editing mentaries it was in the true classi- consumption and the influence of room,” Gandini observes. cal tradition of character-driven the media on politics to social iso- A professor of Audio-Visual portraits. A kind of drama. But 1. lation in the welfare state, some- Design, Johan Söderberg started instead of that, we’ve fallen in what abstract subjects successful- out as a drummer who moved on love with the idea of making films ly made concrete through their to music videos. Back when he that are critical of the system. It mutual filmmaking skills. With and Gandini started working could easily become very boring, 2. 3. 5. narratives that are associative, together, Söderberg had already so it’s a challenge every time to 4. musical and rich in imagery, these made internationally acclaimed make a film in a way that’s unex- 6. 7. are essayistic documentaries, as films such as Information is Free pected, a way that can lead to Erik Gandini likes to define them. (1994) and Lucky People Center reflection.” “We talk a lot. Test our way International (1998) with the Their partnership really took 1. Cosmopolitanism (2015) 2. Sacrificio (2001) 3. Raja Sarajevo (1994) 4. The Swedish Theory­ forward. Documentaries are electronic music and arts collec- off in 2003 with Surplus, their of Love (2015) 5. Gitmo (2005) made in the editing room: that’s tive Lucky People Center. study of excessive consumption. 6. Surplus (2003) 7. Videocracy (2009) FASAD (ALL PICTURES)

18 19 19 FASAD

“When you make a film about current issues, inspiring people to discussion and ­dialogue is the main hope you have” Johan Söderberg FASAD/ LARS TUNBJÖRK LARS FASAD/ JOHAN BERGMARK JOHAN

“My friends started yawning “Our working methods have with the cultural historian Nikos Erik Gandini, when I talked about it. But Johan become slightly more relaxed with Papastergiadis, media expert director, and was really into it. And when we’d each film we’ve made, probably Miyase Christensen, philosopher Johan Söderberg, made the film it became clear that because your brain’s constantly Anthony Appiah and the former we’d put our finger on something working overtime, and you need a General Secretary of the UN Kofi editor that lots of people were feeling, a little downtime now and then to Annan, set against a backdrop of Current projects: the documentary sense of being turned off by shop- avoid making bad decisions. In hand-painted animations by The Swedish Theory of Love plus the short documentary ping – the complete opposite of purely creative terms, Erik’s the Michelle and Uri Kranot. Cosmopolitanism­ . Gandini will also the retail fever that’s such a fun- maximalist and I’m the minimal- Alongside Johan Söderberg be contributing to the CPH:DOX damental part of marketing and ist, think Ecstatic Truth rather there’s one more name that regu- festival with a specially commis- advertising.” than the Dogme manifesto. That’s larly features on the credits of a sioned slideshow to accompany a Johan Söderberg admits that he probably why he likes working Gandini film: Iacopo Patierno. concert by the Swedish musician not only gets into the subject, he with me, the fact that I like to use An Italian who lived for a period Jonathan Johansson on 7 Novem- ber. Gandini and Söderberg have becomes “manically obsessed” music as a major and subjective in Stockholm, Patierno also has a also worked together on: Sacrifi- when he’s working on Gandini’s element of the narrative.” decisive impact on the way the cio (2001), Surplus (2003), films. Their latest project is the films look, according to the direc- Video­ cracy­ (2009). “It’s enormously energising, to 17-minute short filmCosmopoli - tor himself: say the least. It’s something you tanism, a concept they define as “Iacopo’s usually credited as think about day and night, you “world citizenship”. the assistant director, but he does terrorise your family with various “There’s a lot of talk about rac- just about everything – sound- theories and statistical truths. But ism and xenophobia, but this is the takes, pre-edits, file conversions, when you make a film about cur- exact opposite. Basically it’s about you name it... Plus the fact that rent issues, inspiring people to simple guidelines on how to coex- he’s a really nice guy! He moved discussion and dialogue is the ist with people who aren’t exactly back to Italy a few years ago, but main hope you have. It works for like you,” says Erik Gandini. we’ve still carried on working me, at least.” The film comprises interviews together.” ●

20 IDFA

Feature-Length Competition: Best of Fests: Don Juan by Jerzy Sladkowski Every Face Has a Name by Magnus Gertten Kids & Docs Competition: I Am Dublin Ruth by Hanna Heilborn by Ahmed Abdullahi, David Aronowitsch, Sharmarke Binyusuf, Anna Persson Masters: Nice People Becoming Zlatan by Anders Helgeson, Karin af Klintberg by Fredrik Gertten, Magnus Gertten Panorama: Ingrid Bergman – In Her Own Words by Stig Björkman Martha & Niki by Tora Mårtens The Swedish Theory of Love by Erik Gandini Say Something by Åsa Ekman

sfi .se MARTHA & NIKI BY TORA MÅRTENS, PHOTO: MEI VISIONS MARTHA & NIKI

Breaking good

about the friendship between two Martha & Niki is a celebration of hip-hop dance. young women of diverse back- grounds. Rather like a Hollywood ­Director Tora Mkandawire Mårtens takes us on the fantasy it starts out as a success story: their dance battles in the emotional rollercoaster story of two young women who world’s major cities and the flights that take them there. We get to reign supreme in this male-dominated world. The film know Martha and Niki almost wordlessly in a film that speaks will be screened in the Panorama section at IDFA. via gestures, movements and body language. Only when we see their first defeat does the street t starts well. Five years in the “the most intimidating I’ve seen.” dance fade to reveal problems

IDFA making, Tora Mkandawire “My aim has been to get that they experience away from IMårtens’ Martha & beneath the surface and present the stage. Niki (2015) has been chosen as the another side of the hip-hop dance “There was no other way, they opening film at Nordisk Panora- world. It can express so many were at the top right from the out- ma in Malmö. A collective wave emotions, there are battles but set. People said: they’re world of excitement engulfs the first- there’s also a more profound art champions already, what more is night audience as two dancers form that underpins it,” says Tora there to say? There’s a tendency showcase their best-choreo- Mkandawire Mårtens shortly towards fixed ideas about how a graphed moves to the scratch and after the film’s world premiere in story should be told, but I think beats of hip-hop. From their Malmö. “Or as Martha puts it, you can do it in many ways. Yet native city of Stockholm they’re every time she dances she tells a there is only one way from the heading for Juste Debout, the story, the story of her life.” top, and that’s down. You can’t be world street dance festival in Par- Martha & Niki is also a film on top all the time.” is, then on to New York. Success produces a sense of The fact that it’s a predomi- saturation, and issues surround- nantly male-dominated world “What she wants is ing their situation, different ori- doesn’t faze Martha Nabwire and simply to be herself. gins and characters start to sur- her friend Niki Tsappos. The big- face. Martha has the most misgiv- ger the stage, the more self-confi- Dance is the means to ings. When she was 13 she and dence they exude, the more they overcome these her family left Uganda for Swe- Text Jon Asp defy their male competitors. One den and have never felt at home in Photo Frans Hällqvist awestruck hip-hop dance legend ­f e e l i n g s ” the grey everyday reality of their Production info p. 40 sums up their performance as Tora Mkandawire Mårtens new country. Niki, on the other

22 Breaking good

23 TORA MKANDAWIRE MÅRTENS MKANDAWIRE TORA “I get inspired by other films, mostly fiction. At heart I’m a photographer, so I draw inspiration from visual sources, images I see that make me reflect” Tora Mkandawire Mårtens

hand, adopted as a baby from simply to be herself. Dance is the Andersson and Ruben Östlund, that make me reflect. I look Ethiopia, has a more straightfor- means to overcome these feelings. has also been involved in the around for visual elements I can ward attitude to life and is the Both of them get such amazing project… incorporate in my films, that’s the driving force behind the partner- self-confidence from dance, from “Kalle has been helping me in way I’ve always worked.” ship. the coordination of their bodies. South Africa as a consultant edi- With plans to make both fiction To what extent do you think that What matters to me is being able tor for the film. He’s just amazing, films and documentaries, Tora dance for them is a way of deal- to bring it all to life.” without him it would have been so Mkandawire Mårtens wonders ing with their situation? Central events of the film take much more difficult.” how she will cope going forward: “There’s clearly an unspoken place during a salsa trip to Cuba, Making documentaries is often a “It feels easier to get things sense of being outsiders, mostly where the director has previously time-consuming and demanding right in a documentary, so it’ll be for Martha, but for Niki too in a lived, and the film ends in South art form: where do you find your a challenge to start working on different way. As she puts it she’s Africa, where she now lives with inspiration? fiction. Will it be possible for me fed up with growing up with a dif- her family. “I get inspired by other films, to make the same bold statements ferent skin colour and having to At the opening you mentioned mostly fiction. At heart I’m a pho- in fiction? All I know is that with- put up with all the tired prejudices that Kalle Boman, famous for tographer, so I draw inspiration out a film to occupy me, life that go with it. What she wants is his work with the likes of Roy from visual sources, images I see would seem very empty.” ●

24 New talent

IDFAcademy talent Academy of Dramatic Arts. She Ellen Fiske. first observed the three of them Ellen Fiske specializes in parent-child relationships. without a camera, taking part in In her graduation film Lone Dads she turns the the group herself by talking ­camera toward single fathers in Scotland. about her relationship with her own father. “There’s a very strong macho Ellen Fiske is a young documen- are significantly higher. I was culture in the west of Scotland tary filmmaker who’s interested interested in finding out more which means that dads aren’t “There’s a very strong in parent-child relationships. about the fathers, which brought really expected to take respon- macho culture in the She explored the subject in My me into contact with a group sibility for their children, show Mother – Moja Mama (2015), a called Mellow Dads based in their feelings or to admit their west of Scotland moving short documentary that Glasgow,” says Ellen Fiske, who weaknesses in front of each which means that dads premiered on Sweden’s public is acutely aware of the lack of other. For various reasons, these service broadcaster SVT on material documenting complex particular dads have been aren’t really expected Mother’s Day earlier this year. father-child relationships. absent from their children’s lives, to take responsibility Recently, when she was It was through them, in a but now they have the chance to researching for a film about group for lone fathers in the show that they can actually take for their children” teenage pregnancy in Scotland, industrial town of Motherwell, care of them. And although they Ellen Fiske she particularly noticed the that Fiske met Gary, Stephen struggle and things are set absence of fathers. and Steve, each of whom was against them, there is hope that “A lot more money is spent on more than happy to feature in things can change.” various projects to support lone Lone Dads (2015), her gradua- Text Sebastian Lindvall mothers, because their numbers tion film from the Stockholm Photo Ida Knudsen

25 MONALISA STORY Staying clean

MonaLisa Story is an intimate portrait of an addict struggling to get back with her children and her life partner. Director Text Malin Krutmeijer Jessica Nettelbladt would like to see less stigma attached to CPH:DOX Photo Frans Hällqvist addiction, one of society’s most prevalent problems. Production info p. 40

eroin addict MonaLisa There’s such a sense of shame says, are a prison, and the film was in her thirties when around having a parent who’s an shows just what a long and tortu- Hshe met documentary addict, despite the fact that it’s so ous route an escape from that filmmaker Jessica Nettelbladt. common. I’m passionate about prison can often take. MonaLisa Story (2015) is the letting the voices of people who Jessica Nettelbladt certainly director’s account of their eight- are suffering be heard. People are hasn’t shied away from her subject: year journey together. The film, never just addicts, they’re all “What’s important for me is to now complete, will be in Nordic human beings with a story to show things as honestly and gen- competition at CPH:DOX. tell,” says Jessica Nettelbladt. uinely as possible. MonaLisa and Up close and personal, the film MonaLisa herself was working Fredrik like the film a lot, and shows us MonaLisa’s struggle for a as a teacher with a normal family told me all along that I had to tell life free from drugs, her painful life when depression first struck. the whole uncomfortable truth.” separation from her children and She self-medicated with heroin As a filmmaker how did you her love for Fredrik, the partner she and was soon hooked. Drugs, she manage to distil eight years’ met during the course of the film. worth of material down to a fea- Some 15 years ago Jessica Net- ture length film? telbladt met a woman of her own “There’s such a sense “It has been difficult to strike a age with severe addiction prob- of shame around balance between the distressing lems. It was a theme that she was ­having a parent who’s and the hopeful elements. But keen to explore, and the idea for what’s so amazing about follow- her latest film was first born. an addict, despite ing somebody for so long is that “We have more than half a mil- the fact that it’s so you see that life itself has its own lion people with drug and alcohol dramatic narrative. And I’m real- problems here in Sweden, people ­c o m m o n ” ly interested in what happens to with children and other relatives. Jessica Nettelbladt people in the longer term.” To preserve the feeling of inti- macy, Jessica Nettelbladt has act- ed as her own cinematographer throughout. Following MonaLisa has certainly been tough at times. “I love her and I so want things to work out for her. But you can never control another human being.” The film is set for release in Swedish cinemas in March 2016. Jessica Nettelbladt’s next project will be an autobiographical film that she has also been collecting material for over a 15-year

LEJONI PRODUCTION AB PRODUCTION LEJONI ­p e r i o d . ●

26 27 28 TAIKON Civil rights hero

Katarina Taikon has been described as a Swedish Martin

Luther King. Lawen Mohtadi and Gellert Tamas’ documentary Text Niklas Wahllöf tells the story of a remarkable woman who became an important Photo Johan Bergmark spokesperson for the Roma community. Production info p. 40

he die was cast. Author says Lawen Mohtadi. “There are even an established party in our and journalist Law- others who everyone knows about, parliament whose aim is to keep Ten Mohtadi’s biography Olof Palme and Astrid Lind- ‘non-Swedes’ out.” The Day I Will Be Free (Den dag gren, for example.” Katarina’s mother died when jag blir fri, 2012) had been pub- “But I see her as one of the she was a baby. She was sent out lished and one more chapter in 20th century’s most important to a foster home as a child, given the story of Katarina Taikon was figures in the struggle for human away for marriage at the age of complete. But during the course rights in Sweden. Just being able 13, escaped to Stockholm, taught BJÖRN LANHAMMAR BJÖRN of her work, Mothadi had uncov- to say that is a major step for- herself to read at the age of 26, re- ered so much material from radio “She shows us that ward, because it’s a way of point- married and subsequently and television that it became ing out something that Sweden divorced, had children, struggled impossible not to think about tell- change isn’t easy, that hasn’t been willing to admit: that to make ends meet and to keep ing that story in another medium. it comes at a price, but we have had groups of people in the threads of her life together. A When her colleague Gellert our midst without rights. Her passionate human being, she Tamas had finished reading the that it is possible” achievement was enormous, she lived life to the full. But by the book, he was struck by the same Gellert Tamas drew attention to the Roma peo- late 1970s she had burnt herself idea: they really ought to make a ple, changed the collective view out. In 1982 Katarina Taikon fell film together. of them and brought about politi- silent, suffering from heart fail- Now their film,Taikon , is here. growth of modern Sweden, and I cal changes.” ure which left her in a coma until It’s a powerful and rich portrayal immediately felt I that wanted to Gellert Tamas agrees: he her death 13 years later. This new of the Roma girl born in a tent contribute towards a presentation regards Katarina Taikon as one of film now takes up her voice once camp near the central Swedish of her achievements in a wider the most important figures of again. town of Örebro in 1932 and who context.” modern Sweden. “She managed to achieve fun- died 63 years later, having The fact that Katarina Taikon “She has been called Sweden’s damental change in Sweden, at become a central figure in Swed- has become so overlooked is Martin Luther King, and I think least in terms of Roma rights,” ish political debate and a cele- something of a mystery. A film that’s an accurate moniker,” he says Gellert Tamas. “She shows brated author. Yet then she was actor in her teens, she wrote fac- says. “Taikon is more than just a us that change isn’t easy, that it forgotten. tual books during the 1960s and documentary biography: with its comes at a price, but that it is pos- “I probably had the same from 1969 onwards published no many clips from television sible.” impression of Katarina Taikon as fewer than 13 books about Katitzi debates, newsreels and inter- Can Katarina Taikon ever most Swedes,” says Gellert (based upon herself: the name views old and new both with her become a reinstated hero, a Tamas. “She was the one who means “Little Kati”), which in and those close to her, it’s a can- symbol of the nation? wrote those books for young peo- turn became both television did depiction of Sweden and a “I think that’s still some way ple about a Roma girl called series and comic books. She clear pointer to our own times. off. What’s important is that her Katitzi back in the 1970s. But often appeared on television, she Thanks to people like Katarina life and achievements are docu- when I started reading Lawen’s engaged with politicians and took Taikon the Roma people’s situa- mented and that people can have book I realised how much greater part in demonstrations. tion improved in many ways. But access to this chapter of Swedish Katarina actually was. Her life “What’s strange is that a figure just like then, discussions are history. Now it won’t be possible runs parallel with all the positive like her doesn’t feature in most now raging about immigration to forget and ignore her,” says and negative aspects of the people’s general knowledge,” and refugee quotas, and there’s Lawen Mohtadi. ●

29 We keep people watching the stars. Over and over again.

Swedish Film represents most of the well-known fi lm studios on the account of clients that uses fi lm in the Non Theatrical area. Swedish Film is the market’s leading actor and have distributed fi lm and licences to companies and organizations for more than 65 years. We’re working continuously with signing new collaboration partners and hereby we encourage you to contact us!

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Swedish Film AB, Box 6014, SE-171 06 Solna, Sweden. Phone: +46 8 445 25 50, fax: +46 8 445 25 60. Contact us through www.swedish lm.se or info@swedish lm.se EXTRA MATERIAL Behind the mob scene With an unusual behind- the-scenes film from Paris born director Maximilien Van Aertryck, Plattform Produktion­ continues to explore the conventions of film.

Text Jon Asp Photo Emelie Asplund Production info p. 37

n 2013 the Italian mafia drama Salvo scooped the Critics’ IWeek award at Cannes, then went on to festival success all around the world. At the time of filming, first-time directors Fabio Grassadonia and Antonio Piazza had invited Maximilien Van Aer- tryck to document the shoot. The upshot was Extra Material (2015), a thoughtful observation that takes us behind the scenes in an unconventional way. Instead of anecdotes, programme elucida- tions and discarded scenes, we are presented with an examination of the way film reproduces conven- tions, not necessarily based in reality but in the world of film banal. Quite a lot of Salvo is industry, the need to be critical of Van Aertryck refers to dinners itself. kitsch: the blind, companionless images, critical of what you do he shared with the Salvo directors “I was the only person who woman who gets saved by the and why you do it. To examine where they talked in depth about wasn’t contributing to the film, tough guy, the mafia boss with his the ways film influences people growing up in Sicily, the state of and that gave me a special dis- gruff voice – it’s all very super­ and society in general.” the mafia today, poverty and lux- tance, an eye for elements of the ficial.” What do the directors of Salvo ury, waste, global markets and absurd,” says Van Aertryck. “It’s As a director Van Aertryck think about Extra Material? politics. a kind of trompe-l’oeil: I can seems to be custom made for the “I think they’re so close to “But they didn’t include any of observe Salvo as a film that works task. Arriving in Sweden from their own film that they don’t see that in Salvo, just stereotypes when you view it from the right Paris in 2009, he eventually the criticism, even though they mostly lifted from other films. angle, but when the perspective found himself in his element at understand the kind of things we And yet this was a film made with changes various clichés appear.” Plattform Produktion, best do at Plattform.” EU taxpayers’ money, from Van Aertryck wants to show known for the films of Ruben Eurimages, Arte. Perhaps we how this condition not only Östlund. should start to question what pub- applies to action and entertain- “I like the whole Göteborg phi- lic money is used for? Should we ment films, but also to films of losophy, especially the Valand regard film in isolation, or as part more refined pedigree. Academy Film: the notion of of the increasingly dominant “The aesthetics may differ but looking at film and moving imag- world of images, with the same the content is often the same. Peo- es from a broader perspective, responsibilities and opportuni- ple have a real appetite for the beyond the conventional film PRODUKTION PLATTFORM ties?” ●

31 32 THE GIRL WHO SAVED MY LIFE

Life during wartime In The Girl Who Saved My Life we follow director

Hogir Horiri’s perilous attempts to find the Iraqi Kurd refugees Text Jon Asp he met in his previous short, Victims of IS. Out of the blue, Photo Bezav Mahmod 10-year-old Souad comes to his rescue. Production info p. 38

n The Girl Who Saved My Life The upshot was Victims of IS to board a helicopter which would (Flickan som räddade mitt liv, (Isis offer, 2014), a short docu- have given him a unique opportu- I2015) the photographer and mentary which led indirectly to nity to film the many thousands filmmaker Hogir Hirori goes the feature-length The Girl Who of Yezidis surrounded by IS on back to Iraqi Kurdistan to docu- Saved My Life. In this related fol- Mount Shingal – a helicopter ment the attempts of his fellow low-up, the Stockholm based which subsequently went on to countrymen to flee from the grip filmmaker decides to set off in crash. of the so-called Islamic State. He search of 10-year-old Souad, a lit- “She reminded me of my own first returned in 2014, profoundly tle girl he had first encountered life: I saw much of myself in her,” affected by the shocking images lying under a water tank in the says the director who has put his of 1.4 million people who, in one sweltering heat without any fam- own life at risk on many occa- week alone, were forced to flee ily or provisions. Seeing her sions. In order to make the film, from persecution. plight, Hogir Hirori decided not he also used up his own savings

33 HOGIR HIRORI HOGIR

“I wanted to show the and borrowed heavily. And when With help of clips from Victims of he first set out on his journey, he IS, which had been broadcast by a Rough Cut Service ”The purpose of RCS is to raise the role reality that nobody left his wife, then eight months Kurdish television station, he of editors in documentary filmmaking, would otherwise see. pregnant, back home in Sweden. began to hope he could discover because it’s an area where editing is “It wasn’t just a case of making what had happened to Souad. He especially important,” says Iikka Nobody else could a documentary, I wanted to show was joined on his most recent Vekhalahti, a long-time commissioning show what I show” the reality that nobody would oth- journeys in summer 2015 by his editor for the Finnish Broadcasting erwise see. Nobody else could wife and baby son, who were also Company, YLE Documentaries. Hogir Hirori He founded the consulting company show what I show. I not only able to visit Hogir’s parents and together with Dutch editor Menno speak the language and know the relatives. Boerema earlier this year. Today RCS area, I also know what it is to be a “A lack of jobs and money consists of nine consultants, mostly refugee.” means that huge numbers of young editors, all of them used to working Born in 1980, Hogir is indeed people are predicted to leave Kurd- with rough cuts through a wide variety used to fleeing. One of his clearest istan in the coming years. But the of story-telling approaches, and from very different cultures and countries. memories is the time back in 1991 film does provide some hope “So far we have taken on ten proj- when, at the same age as Souad, towards the end with the idea that ects, from India, Slovenia, Bulgaria, he also became separated from people can help each other to actu- Sweden, Japan, Macedonia, Croatia, his parents. ally make things better.” Lithuania, the Netherlands and Ger- “Losing my childhood like that The director has enjoyed con- many. And we’re pleased to see the forced me to grow up fast.” siderable assistance from his own completed works screening at festi- vals, films such as For the Love of a His father had been put in pris- friends and also from the Swedish Man (2015) by Rinku Kalsy at Venice on under sentence of death for Film Institute’s commissioner for and Pankaj Johar’s Cecilia (2015) at having joined the Kurdish Pesh- documentary films, Antonio Rus- IDFA”, says Iikka Vekhalahti. merga forces, but was pardoned so Merenda, who believed in the How was the working process with some years later. Then, at the age project right from the outset. Help Hogir Hirori and his The Girl Who of 19, Hogir left his family in too has come from Rough Cut Saved My Life? “He came to us with an original Kurdistan to travel to Sweden. Service, a recently formed coach- rough cut that was more than two Without a passport he spent the ing company for documentary hours long. You could feel his personal next three months travelling filmmakers, who helped to passion and involvement in the story through seven countries, often streamline the content in order to throughout the material, but also the subject to the same dangers fac- enhance the portrayal of the refu- fact that he had been working with the ing the current wave of refugees gees themselves. film quite alone, which easily leads to a real need for a fresh eye and support into Europe. “Their feedback has been a great from outside,” says Iikka Vekhalahti. In the film we follow the direc- help at a detailed level. Our ambi- “But he was really very open, working tor’s attempts to find the desper- tion now is to get the film selected hard, trying different things, finding his ate refugees he had met earlier. for Sundance or Berlin.” ● own solutions.”

34 NWe’re proud of Swedishew films. Especially proud d to present ocs 10 films at this year’s IDFA and 8 films at CPH:DOX. The following 24 documentaries are ready to hit international festivals and markets. Please visit our website sfi.se for­updated information on Swedish ­features, ­documentaries and shorts.

35 New docs

Becoming Zlatan The decisive years of Swedish footballer Zlatan Ibrahimovic, told through rare archival footage where a young Zlatan speaks openly about his life and challenges. The film closely follows Zlatan, from his debut in Malmö FF in 1999, through his conflictual years with Ajax Amsterdam, up to the final breakthrough with Juventus 2005. Becoming Zlatan is a coming-of-age film, depicting the complicated journey of this young, talented and troubled player who finally becomes a superstar in the international football world.

Original title Becoming Zlatan Directors/Screenwriters Fredrik Gertten and Magnus Gertten Produced by Auto Images/Lennart Ström and WG Film/ Margarete Jangård with support from the Swedish Film Institute/Antonio Russo Merenda Duration 115 min National release February, 2016 Sales TBA

Fredrik Gertten is a Swedish award-winning director and journalist. His latest works Big Boys Gone Bananas!* (2012) and Bananas!* (2009) have met an audience in over 100 countries and at Sundance, Berlinale, Hot Docs and IDFA. Magnus Gertten has a background as a TV and radio journalist. He has since 1998 directed a number of documentaries, amongst them Long Distance Love (2008) and Every Face Has a Name (2015). He also co-produced Danish documentary Armadillo,

STEFAN BERG STEFAN which won the Grand Prix in Critics’ Week at Cannes in 2010.

Bikes vs Cars The bicycle, an amazing tool for change. Activists and cities all over the world are moving towards a new system. But will the economic powers allow it? Climate change and never-ending gridlocks frustrate people more than ever. Instead of whining, people in cities around the world take on the bicycle as a ‘Do It Yourself’ solution. Road rage and poor city planning leads to daily death amongst the cyclists. And now they demand safe lanes.

Original title Bikes vs Cars Director/Screenwriter Fredrik Gertten Participants Aline Cavalcante, Dan Koeppel, Raquel Rolnik, Rob Ford Produced by WG Film/ Margarete Jangård, Elin Kamlert, with support from the Swedish Film Institute/ Cecilia Lidin Duration 90 min National release March 6, 2015 Sales Autlook Filmsales

Fredrik Gertten is a Swedish award-winning director and journalist. His latest works Big Boys Gone Bananas!* (2012) and Bananas!* (2009) have met an audience in over 100 countries and at leading festivals such as Sundance, Berlinale, Hot Docs and IDFA. WG FILM WG

Blood Sisters Julia and Johanna, from the high-rise flats of Rosengård in Malmö, inseparable for as long as they remember. Curled up beside each other at night, carrying equal memories of abduction and abuse in their home country Azerbaijan. In Blood Sisters we follow their journey from twin sisters in symbiosis to young women trying to stand on their own feet.

Original title Blodssystrar Director/Screenwriter Malin Andersson Participants Julia and Johanna Yunusova Produced by Malin Andersson Film/ Malin Andersson with support from the Swedish Film Institute/Cecilia Lidin Duration 80 min National release September 25, 2015 Sales Taskovski Films Ltd

Director and producer Malin Andersson, born in 1972, produces out of Sweden and Ireland and makes documentaries around the world. She is also keen on digging close to home to maybe make us open up our own eyes. Andersson’s debut Belfast Girls (1996) won numerous awards and Blood Sisters is her first internation- al co-production as both producer and director. JENS KLEVJE JENS

36 Don Juan A four-sided love triangle, spiced with autism, neuroses and life crises in the Russian city of Nizhny Novgorod. The 22-year-old autistic young man Oleg is seeking approval and love. He is surrounded by many who want to help him, but no-one succeeds. Suddenly help comes from an unexpected direction.

Original title Don Juan Director/Screenwriter Jerzy Sladkowski Produced by Ginestra Film AB/Antonio Russo Merenda, Ulla Simonen, with support from the Swedish Film Institute/Cecilia Lidin Duration 92 min National release TBA Sales TBA

Jerzy Sladkowski was born in Poland in 1945. He immigrated to Sweden in 1983. Since then he has worked as a freelance director and producer making over 40 documentaries. Recipient of numerous prizes including the European Film Award for Vendetta (1996), the IDA Award for Swedish Tango (Tango, gräl och ledbesvär, 1999) and the Golden Dove at DokLeipzig for Vodka Factory (Vodkafabriken, 2 011) . GINESTRA FILM AB FILM GINESTRA

Every Face Has a Name On April 28, 1945 ferries with survivors from the German concentration camps arrive at the harbour of Malmö, Sweden. As the survivors take their first steps in freedom, news reporters film them. 70 years later the survivors recognise themselves on the film. This relives the feelings of happiness, confusion and insecurity from that day. In the film we also meet a group of refugees, who in July 2014 succeeded reaching Sicily in a small fishing boat. We see them in the news every day. All of them anonymous. All are faces without names.

Original title Every Face Has a Name Director Magnus Gertten Screenwriters Magnus Gertten, Jesper Osmund Participants Piotr Gorskí, Phillip Jackson, Bernhard Kempler, Ryszard Lagemo, Anita Lobel, Fredzia Marmur, Svenn Martinsen, Judith Popinski, Elsie Ragusin Produced by Auto Images AB/Lennart Ström, Magnus Gertten, with support from the Swedish Film Institute/Cecilia Lidin Duration 76 min National release February 20, 2015 Sales Rise & Shine World Sales

Magnus Gertten is co-owner of the production company Auto Images in Malmö, Sweden, and has a background as a TV and radio journalist. He has since 1998 directed a number of documentaries, amongst them Long Distance Love (2008) and Harbour of Hope (Hoppets hamn, 2011). He’s also the Swedish co-producer for the Danish AUTO IMAGES documentary Armadillo, which won the Grand Prix in Critics’ Week at the Cannes Film Festival in 2010.

Extra Material Tough, initiative taking men, frail and defenceless women, Beretta guns and hoarse mafia boss voices: in Extra Material we closely study the shooting of Salvo (2013), an Italian love and mafia drama that won awards in Cannes. This unusual behind-the-scenes triggers reflections on the attitudes and conventions that are reproduced in and throughout cinema.

Original title Extramaterial Director/Screenwriter Maximilien Van Aertryck Produced by Plattform Produktion/Axel Danielson, with support from the Swedish Film Institute/Cecilia Lidin Duration 58 min National release TBA Sales TBA

Maximilien Van Aertryck (1989, Paris) is part of the acclaimed production company Plattform Produktion where he closely collaborates with Axel Danielson. His latest short Second Deputy Speaker (2015) studies symbolic resistance in the Swedish parliament and competed for the Startsladden Award at Göteborg Film Festival. PLATTFORM PRODUKTION PLATTFORM

37 New docs

Fonko Fonko is a feature length documentary about social and political changes in the new Africa as seen through an avalanche of striking, innovative and visual music.

Original title Fonko Directors/Screenwriters Göran Hugo Olsson, Lamin Daniel Jadama, Lars Lovén Participants Sista Fa, Wanlov the Kubolor, Nneka, MCK and various artists Produced by Story/ Tobias Janson, Göran Hugo Olsson, with support from the Swedish Film Institute/Cecilia Lidin Duration 95 min National release TBA Sales First Hand Films

Göran Hugo Olsson is a Sundance and Berlin award-winning documentary filmmaker. A selection of his films: Concerning Violence (Om våld, 2014), The Black Power Mixtape 1967–1975 (2 011), Am I Black Enough For You (2009). From 1999 to 2002 he was the Documentary Film Commissioner at the Swedish Film Institute. Lamin Daniel Jadama is a music journalist, DJ and musician with his roots in West Africa. He has been producer and radio host at SR, the Swedish public service radio. Lars Lovén works as a freelance journalist and a music critic at the Swedish newspaper Svenska Dagbladet. STORY AB

The Girl Who Saved My Life Filmmaker Hogir Hirori goes to Iraqi Kurdistan to document the attempts of his fellow countrymen to flee from the grip of the so-called Islamic State. During one week 1.4 million people are forced to flee from prosecution. At the border between Iraq and Syria he gets the chance to accompany a helicopter transport to the Shingal mountains. On his way he finds a young girl, Souad, lying alone in pain in the 45 degree heat. He decides to stay with her and that decision saves his life because the helicopter crashes. Suddenly Souad disappears and Hogir embarks on a journey to find her.

Original title Flickan som räddade mitt liv Director/Screenwriter Hogir Hirori Participants Souad, Hanifa, Tawre, Besma, Wesila, Khalid Produced by Lolav Media AB/Hogir Hirori, with support from the Swedish Film Institute/Antonio Russo Merenda Duration 79 min National release TBA Sales TBA

Hogir Hirori was born in Duhok, Kurdistan. He fled to Sweden in 1999 and currently lives in Stockholm. He works as a freelance photographer, editor and director for different production companies and TV channels. The Girl Who Saved My Life is his first feature documentary. HOGIR HIRORI HOGIR

The Hotel The Hotel is the last part of a trilogy about traveling. The first two were The Atlantic (Atlanten, 1998) and The Lighthouse (Fyren, 2000). The hotel is a different kind of home. It can be a refuge, cul-de-sac, castle, nightmare, creative space … The first hotel was created as protection against the elements. Weary travellers could find shelter and rest. But it was also a place for legends and anecdotes.

Original title Hotellet Director/Screenwriter Kristian Petri Participants Björn Andrésen, Lars Norén, Åsne Seierstad, Kenneth Anger, Stellan Skarsgård, Simon Casas Produced by B-Reel/Mattias Nohrborg, Cecilia Nessen, with support from the Swedish Film Institute/Peter ‘Piodor’ Gustafsson Duration 90 min National release TBA Sales TBA

Kristian Petri has made both award winning documentaries and feature films. His first two shorts were selected for the Semaine de la critique in Cannes. The documentary The Atlantic was awarded the Göteborg Film Festival’s Nordic Film Prize and received a Guldbagge Award. In 2010, Petri directed the psychological thriller Bad Faith (Ond tro) that was selected to Toronto International Film Festival in 2010. B-REEL

38 I am Dublin The film portrays Ahmed who plays a character whose life mirrors his own. Ahmed finds himself in limbo. The moment he arrived in Europe he became a so-called Dublin-case, meaning he was deprived of all his rights and deported from country to country. His fingerprint is what decides his future.

Original title Jag är Dublin Directors/Screenwriters Ahmed Abdullahi, David Aronowitsch, Sharmarke Binyusuf, Anna Persson Participants Ahmed Hamud Obsiye Produced by Story AB/David Aronowitsch and executive producer Annika Rogell, with support from the Swedish Film Institute/Cecilia Lidin Duration 80 min National release September, 2015 Sales Story AB

Ahmed Abdullahi was born in Somalia and studied film at the Stockholm Academy of Dramatic Arts where he graduated in 2015. David Aronowitsch studied film directing at the Polish National Film School in Lodz. He has made several feature documentaries and short films. A few examples are: Slaves (Slavar, 2008), Facing Genocide (2010) and Sharaf (2012). Sharmarke Binyusuf was born in Somalia 1989. He has taken film courses at Birkagården and Biskops Arnö folkhögskola. Anna Persson graduated from the documentary film program at the Stockholm Academy of Dramatic Arts in 2011. She also co-directed the feature STORY AB documentary Detained (Förvaret, 2015).

I Remember When I Die Some people believe that the last thought we have, before we die, is where we will spend eternity. Can we possibly affect this last moment in life? With a surrealistic and imaginative touch on reality, director Maria Bäck carefully leads the participating hospice patients through their last official statement in life.

Original title I Remember When I Die Director/Screenwriter Maria Bäck ­Participants Finn Hedegaard Jensen, Bodil Vinther Sørensen, Ole Mehl, Christina Wassberg, Evalena von Hausswolff Produced by Garagefilm/Anna-Maria Kantarius, with support from the Swedish Film Institute/Suzanne Glansborg Duration 85 min National release TBA Sales TBA

Maria Bäck graduated from The National Film School of Denmark in 2013 with the award-winning graduation film Mother is God. With a background in poetry writing, dance and photography, she has directed artistic documentaries, shown at internation- al film festivals around the world, as well as programmes for Danish Television. MARIA VON HAUSWOLFF VON MARIA

Ingrid Bergman – In Her Own Words Accessing Ingrid Bergman’s diaries and her own private footage, this film gives an inside perspective of one of our most distinguished actors and a woman who always chose her own path.

Original title Jag är Ingrid Director/Screenwriter Stig Björkman Participants Isabella Rossellini, Roberto Rossellini, Ingrid Rossellini, Pia Lindström, Liv Ullmann, Sigourney Weaver, Fiorella Mariani, Rosario Tronnolone Produced by Mantaray Film/Stina Gardell, with support from the Swedish Film Institute Duration 114 min National release August 28, 2015 Sales TrustNordisk

Stig Björkman, director and writer. His recent work includes the documentaries Fanny, Alexander and Me (2013), Images from the Playground (Bilder från lekstugan, 2009) and … But Film is my Mistress (… Och filmen är min älskarinna, 2010). As a writer, he has authored books based on interviews with Lars von Trier, Woody Allen and Joyce Carol Oates. THE WESLEYAN UNIVERSITY CINEMA ARCHIVES CINEMA UNIVERSITY WESLEYAN THE

39 New docs

Katarina Taikon Katarina Taikon has been compared to Martin Luther King. She was born in a tent, and came to change the course of Swedish history. The story about the young girl who was denied education, learned to read in her late 20’s, and later became one of the most read authors of children’s books in Sweden, is also an account of the emergence of the modern Swedish welfare society – and the one group left behind: the Roma minority.

Original title Katarina Taikon Directors/Screenwriters Lawen Mohtadi, Gellert Tamas Participants Rosa Taikon, Angelica Ström, Åsa Moberg Produced by Gellert Tamas Filmproduction with support from the Swedish Film Institute/Cecilia Lidin Duration 90 min National release October 2, 2015 Sales TBA

Gellert Tamas is an acclaimed author, journalist and documentary film maker and has received a number of awards, both in Sweden and internationally. Lawen Mohtadi is a journalist, publisher and author. Her 2012 biography on Katarina Taikon, The Day I Will Be Free, drew national attention to the pioneering civil rights activism of Taikon and was awarded with the Sara Lidman Prize. BJÖRN LANHAMMAR BJÖRN

Martha & Niki In 2010 Martha Nabwire and Niki Tsappos took part in the biggest international street dance competition, Juste Debout in Paris. It was the first time ever two women became world champions in hip hop. This film depicts Martha and Niki’s love of dance, each other and a friendship put to the test. About desires, yearning and finding the right path in life.

Original title Martha & Niki Director/Screenwriter Tora Mårtens Participants Martha Nabwire, Niki Tsappos Produced by Neo Publishing/Tora Mårtens, with support from the Swedish Film Institute/Linus Torell Duration 90 min National release January, 2016 Sales TBA

Tora Mårtens’ shorts have been shown at several international film festivals. Tommy was competing for a Golden Bear at the Berlinale in 2008. Her first feature documentary Colombianos (2012) received awards at Hamptons Film Festival, DokLeipzig and Krakow Film Festival. TORA MKANDAWIRE MÅRTENS MKANDAWIRE TORA

MonaLisa Story MonaLisa was an ordinary mom working as a teacher. Suddenly life fell apart, and she lost herself to heroin. After years of deep addiction she meets Fredrik. Against all odds, they decide to break the patterns of destruction and go for their dreams. MonaLisa Story is a unique and authentic documentary, following her process during 8 years.

Original title MonaLisa Story Director/Screenwriter: Jessica Nettelbladt Produced by Lejoni Production AB/Jessica Nettelbladt, with support from the Swedish Film Institute/Cecilia Lidin Duration 90 min National release TBA Sales DR International

Jessica Nettelbladt has for more than a decade used documentary storytelling to portray unique life stories within social and existential frameworks. She has a genuine interest in people at the margins of society, and works with a process- based technique where the filming takes time, often many years. MonaLisa Story is her second feature documentary. JESSICA NETTELBLADT JESSICA

40 Nice People A group of young men that fled the war in Somalia have ended up in a rural town in Sweden where integration is tough. Something needs to be done. Local entrepreneur Patrik Andersson gets an idea, why not use sport as a bridge to get people closer to each other? The goal: create the first ever Somali national team in bandy and make it to the World Championship in Siberia. This is a story about racism and fear, but it’s also about bravery and doing something that hasn’t been done before.

Original title Filip & Fredrik presenterar Trevligt folk Directors Karin af Klintberg, Anders Helgeson Screenwriters Karin af Klintberg, Anders Helgeson, Filip Hammar, Fredrik Wikingsson Participants Filip Hammar, Fredrik Wikingsson, Patrik Andersson, Pelle Fosshaug, Ahmed Hussein, Mohamed Abdihakiin Produced by Thelma/Louise, Mexiko Media/Lars Beckung Duration 92 min National release 28 January 2015 Sales First Hand Films

Karin af Klintberg is a writer, director and producer. In 2009 she was awarded the Swedish Grand Prize for Journalism as well as the Guldbagge Award for her documentary feature Ebbe The Movie (2009). In 2003 Anders Helgeson started the production company Thelma/Louise together with Daniel Moll. Karin af THELMA/LOUISE Klintberg is also a partner at the company.

The Swedish Theory of Love Internationally Scandinavia is seen as ’the perfect society’, a role model, an example of the highest achievements in what humans can achieve... Is this true? The Swedish Theory of Love will try to penetrate the cracks of Scandinavian perfection and dig into dysfunctional sides of this on the surface perfect society.

Original title The Swedish Theory of Love Director/Screenwriter Erik Gandini Produced by Fasad/Erik Gandini, Juan Pablo Libossart, with support from the Swedish Film Institute/Cecilia Lidin Duration 90 min National release January, 2016 Sales First Hand Films

Erik Gandini is a Swedish-Italian film director, writer, and producer. Some of his international award-winning documentaries include Raja Sarajevo (Sarajevogänget, 1994), Sacrificio – Who Betrayed Che Guevara? (2001), Surplus – Terrorized Into Being Consumers (2003), Gitmo (2006) and the widely acclaimed Videocracy (2009). FASAD

41 Short docs

Afternoon Tea Dear Director Nisse’s Adventures on Land and at Sea You are quite healthy and you feel young, but you know In 1980 American jazz pianist Kazzrie Jaxen watches the Nisse Andersson, a 87 year old sailor from Gothenburg, death is just around the corner. How do you handle it? In movie From the Life of the Marionettes (1980) by Ingmar reads from his diary, Nisse´s Adventures on Land and at this documentary, you’ll meet four elderly ladies over a cup Bergman. Afterwards she writes him a 16-page letter, Sea. He recalls 40 years at sea, when travelling across the of tea and a conversation about life’s final chapter – re- explaining how it came to change her life. The film starts a world was a big deal. We follow Nisse to the ports where he grets, unwanted signs of aging, death prepping and drastic dramatic inner journey, which makes her understand that visits his “ladies”, get´s his kangaroo tattoo, and all the solutions when life has lost its glory. she is not alone in her own body. Hidden inside a small lump wooden cocks he carved in his bunk. He remembers his of fat under her skin, rests the remains of her unborn twin. loved Brita who disappeared into Alzheimer and realizes Original title Afternoon Tea Director/Screenwriter that the red thread in his life story is his lifelong search for Maria Fredriksson Produced by Barataria/Maria Original title Dear Director Director/Screenwriter intimacy. Fredriksson Production year 2015 Duration 13 min Marcus Lindeen Produced by Fasad AB/Juan Pablo Libossart with support from the Swedish Film Institute/ Original title Nisses äventyr till land och till sjöss Cecilia Lidin Production year 2015 Duration 14 min Directors/Screenwriters Klara Swantesson, Mia Blomgren Participants Nisse Andersson, Mia Blomgren Produced by Anagram Film & TV/Martin Persson with support from the Swedish Film Institute/Andreas Fock Production year 2015 Duration 12 min

Cosmopolitanism In an age in which xenophobia, nationalism and intolerance are a daily occurrence, we have grown accustomed to Homeland thinking of the world as divided among warring creeds and A young woman escapes the war in Syria and ends up in cultures. Cosmopolitanism challenges us to think about a Sweden. Music brings her back in dreams and memories universal belonging that doesn’t confine itself to a city, of her homeland. Each memory is related to a song. region or national boundary. Especially one song by the Norwegian popband A-ha has followed her all her life and it has become a link between Original title Cosmopolitanism Director/Screenwriter the old and the new. Erik Gandini Produced by Fasad/Jesper Kurlandsky, Juan Libossart Production year 2015 Duration 17 min Original title Hemland Director/Screenwriter Sara Broos Produced by Alma Film/Sara Broos Production year 2015 Duration 14 min

Crisis Document – A Survival Guide Can one get used to everything? 50 percent youth unemployment. Doctors forced to choose whom to cure. Lone Dads Social security disappearing. Public services closing down. Three single dads in the old industrial town Motherwell in Fascism increasing. We ask our friends in Greece to make Scotland meet in a lone dads group session to talk about a list of their images of the crisis. It turns into a warning list their feelings and experiences. But also to prove to the for the North. social services that they can take care of their children. But how does your past affect your children’s future? Original title Krisdokument Directors/Screenwriters Elisabeth Marjanoviū Cronvall, Marta Dauliūtė Produced Original title Lone Dads Director/Screenwriter Ellen by MDEMC/Elisabeth Marjanoviū Cronvall, Marta Dauliūtė Fiske Produced by Stockholms Dramatiska Högskola, Production year 2015 Duration 14 min Singularity Film/Stefan Henriksson, Ellen Fiske Production year 2015 Duration 31 min

42 Companies

Production Eight Millimeters Inpost Nimafilm Sweden Story Films Boutique Lucky Dogs Stockholm Film Commission/ [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] Filmregion Stockholm- Companies www.inpost.se www.nimafilmsweden.com www.story.se www.filmsboutique.com www.lucky-dogs.se Mälardalen Elfvik film Germany [email protected] 2afilm [email protected] Joclo Nordisk Film Production Strix Television Njutafilms www.frsm.se [email protected] www.elfvikfilm.se [email protected] [email protected] [email protected] Films Transit [email protected] www.nordiskfilm.com www.strix.se [email protected] www.njutafilms.com Sweden Film Commission Acne Drama Europa Sound & Vision Kameraten www.filmstransit.com [email protected] [email protected] [email protected] [email protected] Nordisk Film ShortCut Studio Bigert & Bergström Canada Noble Entertainment www.swedenfilmcommission.com www.acneproduction.com www.europasoundvision.se www.kameraten.se Stockholm [email protected] [email protected] [email protected] www.bigertbergstrom.com First Hand Films www.nobleentertainment.com Swedish Arts Grants Alma Film Eyefeed Kasper Collin Produktion www.nordiskfilm-shortcut.com esther.van.messel@firsthandfilms. Committee [email protected] [email protected] [email protected] Studio Jens Assur com NonStop Entertainment [email protected] www.cargocollective.com/almafilm www.eyefeed.se Nouvago Capital [email protected] www.firsthandfilms.com [email protected] www.konstnarsnamnden.se Kjellson & Wik [email protected] www.studiojensassur.se Switzerland www.nonstopentertainment.com Anagram Film & TV Eyeworks Scandi Fiction [email protected] www.nouvago.com Swedish Film & TV [email protected] [email protected] Svensk Filmindustri Global Screen Nordisk Film Producers Association www.anagram.se www.eyeworks.tv Kostr-Film OmegaFilm [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] www.sf.se www.globalscreen.se www.nordiskfilm.com www.filmtvp.se Atmo Production Fasad Film www.kostrfilm.com www.omegafilm.se Germany [email protected] [email protected] Sveriges Television (SVT) Novemberfilm Swedish Institute www.atmo.se www.fasad.se Lampray One Tired Brother Productions [email protected] KurzFilmAgentur Hamburg [email protected] [email protected] [email protected] [email protected] www.svt.se [email protected] www.novemberfilm.com www.si.se Auto Images Fido Film www.lampray.se www.onetiredbrother.se www.shortfilm.com [email protected] [email protected] Sweetwater Germany Scanbox Entertainment Swedish Lapland Film www.autoimages.se www.fido.se Lazer Unicorns Pampas Produktion [email protected] Sweden Commission/Filmpool Nord [email protected] [email protected] www.sweetwater.se LevelK [email protected] [email protected] Barataria Productions Film and Tell www.pampasproduktion.se [email protected] www.scanbox.com www.filmpoolnord.se/ [email protected] [email protected] Lebox Produktion Tangy www.levelk.dk www.baratariaproductions.com www.filmandtell.com [email protected] Panfilm [email protected] Denmark Svensk Filmindustri VisitSweden www.lebox.se [email protected] www.tangy.se [email protected] [email protected] Bautafilm Filmateljén www.panfilm.se Magnetfilm www.sf.se www.visitsweden.com [email protected] [email protected] L Edition Entertainment Film Thelma/Louise [email protected] www.bautafilm.se www.filmateljen.com (Lee Film) PennFilm Studios [email protected] www.magnetfilm.de TriArt Film West Sweden Film Commission [email protected] [email protected] thelmalouise.se Germany [email protected] /Film Väst Biospheric Pictures Filmgate www.leefilm.se www.pennfilm.se www.triart.se [email protected] [email protected] [email protected] Tjockishjärta Film The Match Factory www.filmvast.se www.bipic.se www.filmgate.se Lejoni Production AB Peter Jonsvik [email protected] [email protected] Twentieth Century Fox Sweden [email protected] [email protected] www.tjockishjarta.se www.the-match-factory.com www.foxfilm.se Öresund Film Commission/Film Bob Film Sweden Filmkreatörerna www.lejoni.se www.jonsvik.se Germany i Skåne [email protected] [email protected] Tre Vänner Produktion United International Pictures 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