the Sound of the fingers striking the skrivmaskinstangenter. Karin (Karen Key), a young recent graduate journalist, writing an article in their collective. A marxist poster sits on the wall. The mascara is in place, the hair short. She is dressed in a bright red shirt – possibly a symbol for vänstervågen that swept over the young in the 1960s . ”Don’t you know?/This is my call/Don’t try to change me”, sings Irya Gmeyner horse in the background. When Karin goes out on the street in Stockholm, pass she a folkabubbla. “All I want is to feel alive/But I’m nothing without my sisters”.
It is the summer of 1968 and it feels like anything is possible.
” If you look at the change from the patriarchal to a more equal society, it is a kind of topographic peak then. It can be seen in fashion, in hairstyles, in everything. It is never more modern than in 1968, ” says series director Kristina Humle.
if Karin, who gets a summer job at a local newspaper in Ystad. With them, she takes their storstadstankar on equality, solidarity and revolt. Will she be able to awaken the docile homemakers in the southern scanian city? Also Karin’s eccentric konstnärsvän Lottie (Maja Rung), which is not ”so fond of the capitalist system”, leave the capital and settle in the town. They soon becomes friends with the far more traditional Ingela (Anna Åström), who is preparing for her wedding. The series ‘ sisters are gathered.
Maja Rung and Mikaela Knapp studied period interviews with Lena Nyman and Marie-Louise Ekman, in order to capture the säviga dialect that was immortalized in, among other things Vilgot Sjöman ”I am curious”-movies. The director Hops banned and also the colours green and yellow as well as great antique designs to create an in 1968 who felt a strong modern.
– To put a look is very much about taking things away, which has been featured much in previous depictions of the time. The first concern was that it would feel modern and not nostalgic, ” she says.
and tv industry of rapid productions and steadicams: that is why we chose the Hops, another way to reflect the style of the 1960s films.
Anna Åström, Mikaela Button and Maja Rung. Photo: Anette Nantell
– even before I was a photographer I knew I wanted to find a visual language that is familiar from then. Everything is filmed with a fixed camera with either a riding or on the stand, which means that you almost have to have a choreographed movement of the actors. There are not many that work like that anymore, ” she points out.
the Screenwriter, Martina Bigert, who has written the series together with the constant partner Maria Thulin, got inspiration from a biography of Lena Nyman.
” She brought so much to the “I am curious – yellow”, but got basically no kredd in comparison with director Vilgot Sjöman. How I upplevade that she used was a big inspiration for our script, ” says Bigert, which among other things has written the tv series “the Gynaecologist from Askim”, together with Maria Thulin.
Read more: On the filmmusikalisk journey through time to 1968.
unveiled fifty years after the bicentenary, was not planned. Work on the script began as early as seven years ago, and was already clear when the metoo swept across the world last autumn.
“If we, now, up to metoo, has had a tystnadskultur so in 1968 it was a ”shut up”-culture,” says coogan.
Despite frihetsvindarna and the feeling that anything was possible, so was the society much different from today’s: sambeskattningen was still. Women had not the right to abortion. The norm was that the woman would just take care of the home and the children.
– Now there is once again the forces that want us to go back in time, who want to take away from women the rights that people have fought so hard for us to get. We show a small, tiny, glimpse into the work that has been done for women’s rights that you can’t take for granted, ” says Maja Rung and continues:
– 68-movement was sparked when the women understood that their ”small” problem was actually a political problem. Women realized that the individual’s personal, often shameful, experiences were a part of a whole tystnadskultur. As for the metoo became the private political. It is as we say in the series: ”Take us seriously, not in the breasts”.
– It is healthy to lift our eyes, as it did then. To talk about a världssamvete, citizen of the world, that you sympathized with the people over the national borders. In my generation we find it hard to lift our eyes, we have seen into ourselves. Also figuratively in our mobile phones, ” says Rung, and adds:
– It is probably time to start engaging us outside of our own flow and the filter bubble.
