The adaptation of John Aygeid Lindkvist by Ali Abbasis is an original, bold, surprising and intertwined specific Scandinavian mythological theme with a universal theme of the desire to find a home, finding a place for the wild and strange. The playlists were also in the right hands. Both Eva Melander and Eero Milonof dare to get out of all possible comfort zones.
This year's miniskirt is that veteran Mikael Persbrand, who does a great job of collecting his fake pan in the "cake generals," was out of the competition of a non-professional actor; Joakim Sällquist in Goliath. No surprise immediately. Sällquist describes her free-standing milling worker who becomes a baroque drug in Eastern Gothic with intensity, presence, and authenticity that goes beyond most things.
The size of the nominee amateurs for this year's celebration tells a lot about the growing need for realism in the Swedish film, but also that it may be time to create a new Guldbagge category, the best role. Finding good people like Sällquist and Sebastian Ljungblad who play son in Goliath, as well as "Amateurs" nominated Zahraa Aldoujaili is a real art.
The fact that the band behind the four-time nominee and often pretty "Young Astrid" had to go empty-handed and say a lot about the race today. Ten or fifteen years ago, such a movie had a better chance. With a few exceptions – excuse me, but "The flower time now" comes the best movie this year? – High quality nominated films today.
Before, say, In 2010, it was easier for a wider audience to nominate films and win (think of "Women Hating Women", "Honeymooners of the Suburbs", "Masjavalar", "Tsatsiki, Mother and Police" "Änglagård"). However, you can support the group for 20 years, returning to "Fucking Åmål" to find a movie by Guldbagge Winner, who was really so fond of critics and audiences.
The Industrial Party on Monday night in Circus, Stockholm, also shows that the difference between a narrow and a wide film to be easy to express is too great.
On the one hand, the best film should be synonymous with the highest quality, and on the other hand films such as the big biopsy – all of which co-finance Swedish films through the tax note – are less likely to have seen.
Recently the director of the film institute said Anna Serner, that the Swedish film should contain both "arthouse" and "crowdpleasers". Do you want a bastard? Movies that have artistic ambitions for film quality and the ability of a broad movie to engage a larger audience? The public film should dare to raise the bar to return to the party.
Interview with director Goliath Peter Grönolund
Review of Goliath
Interview with Eva Melander on "Granita"
Review the border