“Filmkritikens tight templates can be broken”
“Hynek Pallas responds to Jon Asp in the debate on the was film critic”
“This is a kulturartikel which is a part of Aftonbladet’s opinionsjournalistik.”
“the DEBATE Are critics too nice against the Swedish film? The debate on benevolent critics, who strösslar stars over the domestic productions, is not new. Nine years ago, it was Ulrika Kärnborg who blamed the Swedish filmkrisen on the critics as Baghdad-Bob-lie (Aftonbladet 23 nov 2010). This time it’s Jon Asp, which mean that we have become a group of supporters.”
“There is that Asp shows films that speak to the matter. As incomprehensible acclaimed Aniara. But he had not had to go far back in the Swedish repertoire to find a movie by an acclaimed director with a respected actor in order to see the opposite: Lisa Langseths Euphoria (with Charlotte Rampling and Alicia Vikander) has a betygindex on 2,83.”
“It is worse than Sune vs Sune.”
“nEn part of the Asps case is to point out that critics are subordinated to the political concern and turning a blind eye to the execution. Paradexemplen are the movies Goliath and the Amateurs who are set against Peter Grönlunds, respectively, Gabriela Pichlers debutfilmer Tjuvheder and Eat, sleep, die. With the rhetoric of framkastade the question ”how often reaches the actually the same high level as the directors ‘ debutfilmer” it is as if the Asps opinion, unlike the ”hejarklackens”, was the objective.”
“But enough reaches these movies the high levels – on the other way. For speaking of unification, so it is excellent if the critics not only longs for a director to be stomping around his first successful work of art. Goliath is a better executed film and the more drama. Amateurs, I heard that so unique that I asked Expressen Culture on to write a more detailed text – which is not a review (14 march 2018).”
“freeware it will be, that is why the Asp does not refer to the subject of my text , and hijacks the sentence he is quoting? For my case was to use Amateurs to discuss the changes surrounding class and culture on film the past few decades. The sentence, whose first part is missing, reads in its entirety: ”And here, between the two immigrant families, are also the most sensitive klassdissekeringen in the Swedish film, then Bo Widerbergs days.””
“the Purpose is exactly what the Asp wants more of: ”to put the film in an intellectual context.” There is very little slentrianhyllning of Amateurs, and more an attempt to show how the director Pichler has picked out klassanalysens tools in film about immigration and multiculturalism in Sweden. In the bargain, it shows thus the development she has made since her debut. Which form a criticism beyond mere ratings, and reviews.”
“it is a way to break another tiring and harmful unification – from the tight templates where the american was film critic usually moves.”
“nHynek PallasnDoktor in film studies, writer for Expressen, Culture and film critic at Göteborgs-Posten”
