Ali Abbasis John Ajvide Lindqvist-film adaptation is original, brave, surprising, and weaves together a specifically nordic, mythological themes with a universal theme of wanting to find home, to find a place for it vildväxta and odd. Skådespelarbaggarna was also in the right hands. Both Eva Melander and Eero Milonoff dare to take the step out of the every imaginable kind of comfort zones.
is that the veteran Mikael Persbrandt, who does a nice job of gathering his flaxiga galenpanna ”Tårtgeneralen”, was utkonkurrerad of a non-professional actor; Joakim Sällquist in the ”Goliath”. No surprise direct. Sällquist portrays his laid-off bruksarbetare that becomes östgötsk drug lord with an intensity, presence and authenticity that goes outside most of the time.
the Amount of nominees amateurs for this year’s gala says a lot about a growing realismbehov in the Swedish film, but also that perhaps it is time to create a new Guldbaggekategori, best casting director. To find as good people as Sällquist and Sebastian Ljungblad, who plays the son in ”Goliath”, as well as ”Amateurs”-nominated Zahraa Aldoujaili is a real art.
the team behind the four-fold nominee, and often absolutely gorgeous ”Young Astrid”, had to go home empty-handed also says a lot about the competition in the day. For ten fifteen years ago there was such a movie had a better chance. With few exceptions – sorry, but ”Den blomstertid nu kommer” the year’s best film? – it is the high quality of the nominated films in the day.
in 2010 it was significantly easier for the wider publikfilmer to be nominated and win (think ”Men who hate women”, “Förortsungar”, ”Masjävlar”, ”Tsatsiki, mom and the police”, ”””). However, you must rewind the tape 20 years, back to ”Fucking Åmål” to find a Guldbaggevinnarfilm really loved so by both critics and audience.
Måndagskvällens branschparty at Cirkus in Stockholm, also shows that the gap between the narrow and wide film, to put it simply, is just too big.
On the one hand, the best film was synonymous with the highest quality, on the other hand, wins the films the big audiences – all of which are involved in the financing of Swedish film through their taxes – more rarely seen.
Anna Serner that Swedish film should contain both ”arthouse” and ”crowdpleasers”. May it be a bastard? Film that has the narrow the film’s artistic kvalitetsambitioner and the broad the film’s ability to engage a larger audience? The public film must have the courage to raise the bar in order to get back into the festvärmen again.
Interview with ”Goliath”-director Peter Grönlund
a Review of ”Goliath”
Interview with Eva Melander if ‘Limit’
a Review of ”Frontier”