Swedish #2 2013 • A magazine from the Swedish Film Institute Film 50Half a century with the Swedish Film Institute CDirector Lisah Langsethe exploresc identityk issuesi nin Hotel g in www.sfi.se scp reklambyrå Photo: Simon Bordier Repro: F&B Repro: Factory. Bordier Simon Photo: reklambyrå scp One million reasons to join us in Göteborg. DRAGON AWARD BEST NORDIC FILM OF ONE MILLION SEK IS ONE OF THE LARGEST FILM AWARD PRIZES IN THE WORLD. GÖTEBORG INTERNATIONAL FILM FESTIVAL IS ALSO THE MAIN INDUSTRY WINDOW FOR NEW NORDIC FILM AND TALENT, FEATURING NORDIC FILM MARKET AND NORDIC FILM LAB. 1,000 SCREENINGS • 500 FILMS • 23 VENUES • 160,000 VISITS • WWW.GIFF.SE WELCOME Director, International Department Pia Lundberg Fifty and counting Phone +46 70 692 79 80 [email protected] 2013 marks the Swedish Film Institute’s various points in time. The films we support 50th anniversary. This gives us cause to look today are gradually added to history, giving back to 1963 and reflect on how society and that history a deeper understanding of the Festivals, features the world at large have changed since then. world we currently live in. Gunnar Almér Phone +46 70 640 46 56 Europe is in crisis, and in many quarters [email protected] arts funding is being cut to balance national IN THIS CONTEXT, international film festivals budgets. At the same time, film has a more have an important part to play. It is here that important role to play than ever before, we can learn both from and about each other. Festivals, documentaries perhaps. As a reflection of the times, as critic Films screened at festivals often find an audi- Sara Rüster and comforter. A European crisis is also a ence in Sweden. And as one of the leading Phone +46 76 117 26 78 [email protected] crisis for the daily press. In my opinion, festivals, Cannes plays a major role in the un- technological change will affect our society derstanding of the world gained by audienc- far more than we can currently envisage. If es in Sweden and other countries. That’s why Festivals, short films the press isn’t working properly, how is it’s important that we at the Film Institute Theo Tsappos power to be kept in check? And if we don’t should support films that are good enough to Phone +46 76 779 11 33 have film, how are we to understand be screened here. But it’s also important for [email protected] ourselves and each other? those in charge of the festival to ensure that The role of film isn’t to scrutinise the we get stories which reflect the diversity Special projects media from a journalistic point of view, even which our world encompasses. Petter Mattsson though we have many films which do just This year we have a Swedish short film in Phone +46 70 607 11 34 that. The role of film is to tell stories, and Critics’ Week in Cannes, Pleasure – an [email protected] those stories say a lot about the times in examination of pornographic film’s evalua- which they are created. As such, it’s both tions of male and female. We also have a Special projects important and exciting to follow the films number of Swedish films for export, Josefina Mothander that are being made in the wake of the including works about Swedish musicians Phone +46 70 972 93 52 economic crisis, or in those areas of develop- such as Monica Zetterlund and Håkan [email protected] ing democracy following the Arab Spring. Hellström (read more about these in this Even if we’re not affected, they help us to issue of Swedish Film). For those interested understand. And if we are affected, they help in understanding us Swedes, there’s plenty Head of Communications & Public Relations us to deal with it. Some decades from now, to get immersed in. And we in turn will Åsa Garnert we’ll be able to look back into our film immerse ourselves in films from around the Phone +46 70 615 12 41 archive to see how things were. globe. To give us an understanding of the [email protected] All this creates an understanding of way things really are in society and the history. Totally amazing, and totally neces- world at large. Press Officer sary. And quite simply not possible to cut Jan Göransson Phone +46 70 603 03 62 back on in a national budget, no more so [email protected] than health care or education. The role of the Swedish Film Institute includes the provision of funding for the creation of new films. The films we have in our archive (a national treasure crying out for digitization, by the way) take us on an Anna Serner Swedish Film Institute International Department odyssey through the way society was at CEO, Swedish Film Institute P.O. Box 27126 SE-102 52 stockholm, sweden Phone +46 8 665 11 00 fax +46 8 661 18 20 www.sfi.se www.twitter.com/swedishfilm Issued by The Swedish Film Institute Publisher Pia Lundberg Download the Swedish Film Editors Mattias Dahlström, Bo Madestrand Art Director Markus Edin app for iPad and Android for free. Contributing Editor Josefina MothanderContributors Jon Asp, Anders Dahlbom, Jenny Damberg, Kerstin Gezelius, Camilla Larsson, Elin Larsson, Alexandra Sundqvist, Po Tidholm, Magnus Västerbro The Swedish Film Institute’s aims include the promotion, support Photography Karin Alfredsson, Johan Bergmark, Nadja Hallström, Sara Mac Key, Kjell B Persson, Ylva Sundgren, and development of Swedish films, the allocation of grants, and Sandra Qvist Cover photo Kjell B Persson (thanks to Story Hotel, Stockholm) Translation Derek Jones the promotion of Swedish cinema internationally. ISSN Print Norra Skåne Offset, Hässleholm Advertising Fredrik Johnsson [email protected] 1654-0050 swedish film • issue 2 2013 3 CONTENTS 2/2013 5 NEWS The return of Roy Andersson. Lukas Moodysson is also back making a film about Swedish teenagers. 24 upcoming projects from Ruben Östlund and Tarik Saleh. And Ninja Thyberg is off to Cannes with her short film Pleasure, a behind-the-scenes-look at a porn film shoot. 14 PRODUCER ON THE MOVE This year’s “Producer on the Move” Erica Wasserman is the force behind such festival hits as Fredrik Wenzel and Henrik Hellström’s Burrowing and Axel Petersén’s Avalon. 16 HOTEL X Pure established Lisa Langseth as one of the most scanpi interesting young directors in Sweden. Now she’s ), back with a story about lost souls, therapy sessions, support groups – and hotels. left Y ( Y ke 20 THE QUIET ROAR mac Three years ago Henrik Hellström’s Burrowing was ara praised at the Berlin Film Festival. His new film is an S unconventional follow-up. 23 THE TENDERNESS 14 Director Sofia Norlin goes deep in a relationship drama set in mining town Kiruna. 24 50 YEARS OF SFI we celebrate the swedish film institute’s first 50 years and CEO Anna Serner talks about the past, 11 ), ), present and future. T lef mark G 28 WALTZ FOR MONICA top ber Artist-turned-actress edda magnason plays the queen of Swedish jazz – Monica Zetterlund – in a gensen ( gensen film that’s more than just another biopic. johan , , ör s J s ist R 32 NOBODY OWNS ME QV Alcoholism and class struggle are the key -Ande ingredients in veteran director Kjell-Åke R 38 Pe sandra Andersson’s gritty drama. 34 SHED NO TEARS 40 Creative duo Måns Mårlind and Björn Stein are back from Hollywood to turn Swedish pop star Håkan Hellström’s songs into a movie. 38 STOCKHOLM STORIES She may be a debutant feature director, but former make-up artist Karin fahlén is no newcomer to film. mark G ber 40 LIFE DELUXE Director and screenwriter Jens Jonsson, best known perhaps for his social realism, tries his hand johan at something new with the third movie in the ), action-packed Easy Money series. left ( 44 NEW FILMS ickers All the latest Swedish films. V 23 phoebe 4 swedish film • issue 2 2013 28 CANNES NEWS Echoes From the Dead is screening in Naked truth the Marché du Film at Cannes Film Festival ● A young woman is getting ready to take part in a porn film shoot. As she’s enjoying small talk with one of the men she’s about to have sex with in front of the camera, she gets curious about taking on a challenge: one that turns out to be painfully uncomfortable. Ninja Thyberg’s short film Pleasure (2013) is competing in Critics’ Week at the Cannes Film Festival. “There’s a lack of stories, images and reflections on the subject of pornography. So many people Director Daniel Alfredson n nowadays are consumers of O s A pornography and it’s very easily g accessible on the internet. And yet ra B R it’s nothing we like to talk about, it’s ldu still taboo,” says the director. A B Still a student at Stockholm Academy of Dramatic Arts (formely Dramatiska institutet), Ninja Thyberg Resounding echoes has carried out meticulous research for her film. In Echoes from the Dead, Bergman’s films set on Fårö in the pants,” one of whom was the “I think I’ve Daniel Alfredson brings us a film early 60’s. “amazingly talented Lena Endre”, the covered most version of Johan Theorin’s crime Echoes from the Dead moves well-known Bergman muse. aspects of the novel. Having directed two parts between the familiar genre of crime “In many ways it’s a drama about film and made it of the world-famous Millennium film and what has become a strong relationships, about atonement.