“Swedish film deserves criticism beyond the leaderboards and promotion”
“My criticism may not be new – but it is relevant.”
“This is a kulturartikel which is a part of Aftonbladet’s opinionsjournalistik.”
“ten years ago totalsågades Luke Moodyssons Mammoth in the foreign press at the Berlin film festival. 0,9 in betygsindex was not at all recognizable from the Swedish average of 3.6 a few weeks earlier. ”Can you trust the Swedish critic?”, I wondered in Focus (20 feb 2009). Malena Janson at svenska Dagbladet (22 jan 2009) deviated from the [citation needed: a movie with over-stated ”good intentions, wise thoughts and a […] the eagerness to tell something of importance’.”
“the Pattern goes again, kritikerkonsensus shaped by local opportunism and benevolence is not a new phenomenon. Absolutely fresh films whose virtuous agenda received the critics to fall completely in love with is the beautiful but grossly caricatured If Beale Street could talk, and our own Aniara, an obvious svårfilmatiserad national treasure as two långfilmsdebutanter landed with limited funds, but with many good intentions, from the high genuspolitisk sense of duty to something lower, but equally anxious genregrepp (see, for example, Göran Sommardals criticism in AB Culture 7 feb).”
“But more important than that, to dwell on individual examples is to see the bigger picture. A critic must be open to new impressions and expressions, and at the same time cultivating their own personal and subjective voice. Even when Hynek Pallas argues for his cause, he contributes to a deeper conversation (AB Culture feb 28).”
“Helena Lindblad, clearly hit on a sore point and returned with all the tags outwards, the moons, however, filmsamtalet by dodging all of the criticism, and by means of attacks which the undersigned is the ”humorbefriad”, ”didacticism” and in addition bought (DN 28 feb). Himself says Lindblad included in the ”an experienced gang” from the major media that does not need to be anxious.”
“Lindblad may lack the desire to see the greater perspective, but she lacks certainly not sense of humor.”
“It is true that the Triart Film (together with the Swedish arts council) financing Point of View (povfilm.see) as I am an editor for, but the company has nothing with the magazine’s editorial content to make – in contrast, distributes the both the Amateurs as Goliath, critically acclaimed movies that I think deserved a more varied reception.”
“the Lindblad self-contradictory stance, måttad after the association rather than argument, illustrates well the sovereign front way to consolidate its position, here by with the country’s largest budget to continue suppressing the few voices that are looking for nuance and conversation beyond the leaderboards, promotionporträtt and large open streamingguider. What you think about the Swedish film, so it deserves better criticism and coverage than that.”