sweden

She Monkeys (Apflickorna)

She Monkeys (Apflickorna) (Director: Lisa Aschan): We are intro­duced to Emma just as she is joining an eques­trian gym­nastics team. Even though she’s the new girl, it’s clear she’s just as com­pet­itive and strong as Cassandra, the team’s unspoken leader. It doesn’t take long for a powerful mix­ture of com­pet­it­ive­ness and sexual attrac­tion to bring the two young women together, and for the rest of the film, we’re never sure if the sparks are going to throw them into a pas­sionate love affair or drive them apart as hated rivals.

At home, Emma lives with her father and her young sister Sara. It’s sig­ni­ficant that there is no mother in the home, because Emma has clearly filled the female power vacuum there. Young Sara is keenly aware of her own power­less­ness and begins acting out in an effort to change that. After being humi­li­ated at the swim­ming pool for not wearing a top, her acting out becomes overtly sexual. Her clumsy sexual advances on her much older cousin Sebastian are creepy and endearing at the same time.

She Monkeys (Apflickorna)

Meanwhile, Emma and Cassandra are falling in love. When Emma flirts with a boy, Cassandra humi­li­ates him, and strangely, Emma joins in. But when Cassandra tries to take their rela­tion­ship too far, Emma hes­it­ates. Cassandra has sparked a sexual awakening (and a dreaded loss of con­trol) in her that she never wanted. Her con­flicted feel­ings only intensify when, des­pite her strength and bal­ance, she fails to make the team. The line between love and hate can be pretty thin, and a des­perate act of jeal­ousy leads to an ambiguous conclusion.

I loved the fact that the male char­ac­ters in the film are all at the mercy of these powerful women, but that the women are unsure of how to use their power. The young actors playing Emma (Mathilda Paradeiser) and Cassandra (Linda Molin) are both good, but it’s Isabella Lindquist as Sara who is a standout, holding up her important sub­plot ably as a child clutching at the power of her sexu­ality far too early.

The bal­ance of power, between who is in con­trol and who is being con­trolled, shifts so often and so subtly that this is a film that will require repeated view­ings to tease out all the layers. Overall, She Monkeys is a nuanced exam­in­a­tion of female power and a fine fea­ture debut.

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The Girl with the Dragon Tattoo
Alliance released The Girl with the Dragon Tattoo in a DVD/Blu-ray combo pack in Canada on Tuesday July 6, 2010.

The Girl with the Dragon Tattoo (Director: Niels Arden Oplev): Though I’m not usu­ally sus­cept­ible to the mar­keting hype that sur­rounds pub­lishing “phe­nomenons” like the Harry Potter, Twilight, or DaVinci Code books, I do have a bit of a soft spot for Scandinavian crime thrillers. My ini­tial enjoy­ment of Stieg Larsson’s book has cooled a little after reading the second in the series, but I still found it an enjoy­able read. The film ver­sion, now more than a year old, has finally been released on DVD and Blu-ray in English Canada after a belated the­at­rical run earlier this spring. Strangely, Alliance released the film in Quebec in 2009, and I believe all three films in the “Millennium” series have already come and gone to cinemas in La Belle Province. My theory is that Alliance was waiting to see what was hap­pening with the planned English-language (Hollywood) remakes, and decided there was still time to make a little money before those came out. I’m not being cyn­ical. Foreign-language films are a hard sell in English Canada, even if they are based on hugely suc­cessful books. The timing of the DVD release coin­cides nicely with the the­at­rical release of the second film in the tri­logy, The Girl Who Played With Fire, which opened here in Toronto this past weekend. But that’s enough pre­amble, what did I think of the film?

Well, for such a plot-heavy book, The Girl with the Dragon Tattoo also man­ages to intro­duce an inter­esting cast of char­ac­ters. Though journ­alist Mikael Blomkvist (played in the film by Michael Nyqvist) and hacker Lisbeth Salander (a chis­elled Noomi Rapace) are clearly the focus, I enjoyed a number of the minor char­ac­ters and felt that their rela­tion­ships with Mikael and Lisbeth helped fill out the story. Unfortunately, with all the plot ele­ments to cover, the film has dis­pensed with many of the other char­ac­ters and even jet­tisoned some important storylines. For instance, in the book, Mikael is car­rying on an open affair with his magazine’s pub­lisher, Erika Berger, who at one point visits him at his cabin on the island of Hedeby. He also car­ries on a sexual rela­tion­ship with Cecilia Vanger, a member of the extended family he’s invest­ig­ating. These rela­tion­ships provide some insight into Blomkvist’s per­son­ality and his self-image as a bit of a ladies’ man and add some ten­sion to his bud­ding rela­tion­ship with Lisbeth. Both char­ac­ters are in the film, but just barely.

Lisbeth is a mys­ter­ious young woman with a troubled past. In the book, she has two important sup­porters. Dragan Armansky, the head of Milton Security, gives Lisbeth a job and looks out for her. Holger Palmgren is her appointed guardian and trustee before a debil­it­ating stroke leads to his replace­ment by the sin­ister Nils Bjurman. Neither of these important char­ac­ters appears in the film.

These are unfor­tu­nate omis­sions, but I can’t say that they’re unex­pected. The plot of the book is more than enough to fill out the film’s nearly 150 minute run­ning time, but as a result, it rather sim­pli­fies the story, leading to an enjoy­able film that fades from the memory much more quickly than the book. Granted, books are immersive worlds that can fill weeks of our lives at a time, so my quibbles are true of just about all book-to-film adapt­a­tions. I can say that I’m still plan­ning to catch the second install­ment, hope­fully while it’s still in theatres. Helpfully, Alliance has included a “sneak peek” look at The Girl Who Played With Fire on the Blu-ray por­tion of the combo pack, as well as inter­views with star Noomi Rapace and pro­ducer Soren Staermose. Perhaps indic­ating the begin­ning of a trend, the spe­cial fea­tures are not included on the DVD disc.

7/10(7/10)

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Patrik 1,5

by James McNally on September 14, 2008

in Film Festivals,TIFF

Patrik 1,5

Patrik 1,5 (2008, Director: Ella Lemhagen): Goran and Sven are a gay mar­ried couple who’ve just moved to the sub­urbs. They’re in the pro­cess of adopting and when they get the news that Patrik (“aged 1.5″) will be arriving soon, they’re ecstatic. But when the Patrik who shows up is a 15-year-old homo­phobic delin­quent, things quickly go off the rails. Though their neigh­bours seem tol­erant, it’s obvous they’re not com­pletely com­fort­able with this unusual family. To make things worse, Patrik’s arrival throws a wrench into the couple’s rela­tion­ship, too. Sven had pre­vi­ously been mar­ried to a woman and fathered a child and seems uncom­fort­able that his life seems to be resuming a sim­ilar shape. Will Goran’s dream of being a hus­band and father and having a house in the sub­urbs sur­vive the arrival of this sullen teen­ager? Well, of course it will.

Though I found this romantic comedy quite touching, it was just a bit too sen­ti­mental to make it really great. Patrik’s delin­quency never seems to become apparent, and I could see the happy ending coming from a mile away. Still, it was refreshing to see a film about a gay couple strug­gling with some of the same issues as me and my wife do.

Official site of the film
Trailer

6/10(6/10)

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Beneath the Stars

Beneath the Stars (Sweden/South Africa, 2004, Directors: Titti Johnson and Helgi Felixson, 105 minutes): The film fol­lows Frieda Darvel, one of Cape Town’s many street kids, as she pur­sues her dream of leaving the streets for a singing career. At the begin­ning, things look bright. Frieda has been selected for South Africa’s “Popstars” TV show, and makes quite an impres­sion on the nation. But all the offers of help (apart­ment, voice les­sons, recording con­tracts) come to nothing and pretty soon, Frieda is back on the street, sniffing glue with her boy­friend. Though there is a sort of family for Frieda here, there is no future. Many people try to help her, but we’re left feeling uneasy when one of her early backers secures funding for a “reality show” on home­less teens, and when it falls through, simply dis­ap­pears. In fact, I felt uneasy a lot of the time watching the film, because if people recog­nize Frieda at all, they imme­di­ately demand that she sing for them. Although she clearly loves to sing, it becomes obvious that for many she is just a per­forming animal and they have no real interest in her as a person. The line between helping her and using her was even a bit fuzzy when I began to think about the film­makers. That is, until the story took a bit of a twist.

After being invis­ible for the first two thirds of the film, sud­denly dir­ectors Johnson and Felixson quite lit­er­ally enter the frame and invite Frieda to come back with them to Sweden for three months. A reluctant Frieda finally agrees and it is in Sweden where she is finally able to kick drugs and make a real com­mit­ment to staying off the street.

She returns to South Africa with some trep­id­a­tion, but at the film’s end, she is living in Cape Town and begin­ning to create an inde­pendent life for herself.

The film is gen­er­ally quite effective with the excep­tion of a couple of things. I thought the middle dragged a lot, with far too much footage of sleeping street kids. The misery of their lives was well apparent by this point in the film and it slowed the pace down unne­ces­sarily. Secondly, due to the epis­odic struc­ture, the film felt a bit dis­jointed in a few places. We see Frieda with dif­ferent hair­styles in suc­cessive scenes and it makes it unclear how much time has passed. All in all, a powerful film and one that shows that that the per­sonal involve­ment of the film­makers is not always a bad thing. The film reminded me a little of Born Into Brothels in that respect.

8/10(8/10)

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Evil

by James McNally on September 10, 2003

in Film Festivals,TIFF

Evil (Sweden/Denmark, dir­ector Mikael Håfström): Based on the Swedish best­seller Ondskan by Jan Guillou, Evil is the story of sixteen-year old Erik, who is expelled from his high school for his con­stant fighting. What his teachers don’t know is that at home, Erik is being beaten mer­ci­lessly by his step­father, and is lashing out the only way he knows how. He is sent to a pres­ti­gious boarding school, where he is determ­ined to make good on his con­sid­er­able aca­demic poten­tial. But the school is ruled by the cruel whims of the senior stu­dents, whose many crimes, both petty and oth­er­wise, are ignored by the fac­ulty. Erik faces a choice. He can fight back, and be expelled, or he can take the humi­li­ation. Or is there another way?

This beautifully-shot film reminded me of Lord of the Flies, for obvious reasons, but has also been com­pared to Rebel Without A Cause (which, being set in the 1950s, it ref­er­ences dir­ectly). It didn’t hurt that Andreas Wilson, the actor who plays Erik, bears some resemb­lance to James Dean. It’s a very well-crafted film, even if it doesn’t have any revolu­tionary things to say. The uni­versal themes of friend­ship, first love, growing up, and res­isting injustice are all here and handled with skill. There is quite a bit of viol­ence and humi­li­ation in the film, and even though we are stirred up to see Erik take his ven­geance, the dir­ector gently pulls away from showing us this half of the equa­tion. I thought that was a very inter­esting decision, and it elev­ated this film above being just a more violent Revenge Of The Nerds.

(8.5/10)

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