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Poet of the Elephant House
Director: Anna Juhlin

The Autumn Man
Director: Jonas Selberg Augustsén

Your Mind is Bigger Than all
the Supermarkets in the World

Director: Cecila Neant Falk

Scrap
Director: Clara Bodén

La favola del pennello/
The Tale of an Artist´s Brush

Director Andreas Kassel

The Tree Lover
Director: Jonas Selberg Augustsén

in the land of the cranes/
a film about Chongming Island

Director: Lisa Hagstrand

Historia
Director: Mathew Moore

I think of myself - and the left
Director: Maria Rydbrink Raud

Freedom Calf
Director: Jonas Selberg Augustsén

Jasper
Director: Mårten Barkvall

Hiding behind the camera
Part 2

Director: Carl Johan De Geer

The Zone
Director: Esaias Baitel

 

 

 

Hem


Under produktion




In Swedish

     
  Swedish Film &
Swedish Ideals
 
  Sweden, 1991, 8 min, 35 mm, colour, 1:1.66  
  Director: Håkan Alexandersson  
     
     
  SOU 1990:44, also known as the Government Investigation on Authoritive Position, is used as the base material for this film. The movie was shot at a cinema in Sundbyberg, as a federal investigator namned Yvonne Peterson holds a speach with a projected background behind her, showing aerial and catastrophy scenes.  

   
  Cast Lena Strömdahl  
  Director Håkan Alexandersson  
  Screenplay H. Alexandersson, (after SOU 1990:44)  
  Cinematography Christer Strandell  
  Sound Jan Alvermark  
       
       
 
 

SOU 1990:44, also known as the Government Investigation on Authoritive Position, is used as the base material for this film. Some words have been exchanged for others, such as; "power" which has become "film". The movie was shot at a cinema in Sundbyberg, as a federal investigator namned Yvonne Peterson holds a speach with a projected background behind her, showing aerial and catastrophy scenes. The metamorphosis of the text, even though the textual meagreness, or even because of its nature, seems incredibly real.

"For the moment, the meaning of the phrase, `the Swedish film´s ideals´ seems to be changing. There´s a fast and thorough, structural change in our society which in many important aspects influences the possiblities of the film climate. The film-investigation´s study can be seen as a contribution to the debate on how the current changes in society affect the film-worker´s possibilities of excercizing power over his own film´s ideals. Although this process is undoubtedly good for the film itself, new problems soon arise. There is a seemingly growing gap between what one may call the possible and the feasible film-workmanship. However, the idea of a dying Swedish film in the midst of a crisis is missleading. It is based on the fact that Swedish film contributes a solid, resistful system that was once installed and since has culminated only to now fade away. But that which is labeled as 'the Swedish film' contains a relativly large amount of seperate elements..."