Nine Films Compete for One Million Crowns – the worlds largest film prize
For the 30th time, the Göteborg Film Festival will hand out an award for the best Nordic film, Dragon Award Best Nordic Film. All in all, nine films are included in the competition, which offers a prize sum of one million SEK making it worlds largest film prize.
43:e festivalen 24 Jan - 3 Feb, 2020
For the 30th time, the Göteborg Film Festival will hand out an award for the best Nordic film, Dragon Award Best Nordic Film. All in all, nine films are included in the competition, which offers a prize sum of one million SEK that is handed out in cooperation with Volvo Car Group.
Facing crisis, the leadership in a Swedish municipality tries to attract German investments through locally produced amateur film in Gabriela Pichler’s irresistible comedy about film, democracy and solidarity.
The uncompromising debut Eat Sleep Die immediately made Gabriela Pichler one of Sweden’s most-respected directors. Now she is back with an intelligent, warm and wonderfully funny film about who owns society’s image. The small municipality of Lafors hopes to solve its economic drought by attracting a German discount supermarket. In order to bolster the municipality’s brand, the local youths are asked to produce films about their hometown, but the films do not turn out as thought. The project is called off, but two teenage girls continue working on their documentary film anyhow. Based on a manuscript that she wrote together with Jonas Hassen Khemiri, Pichler depicts both struggling citizens as well as anguishing politicans with precision, engaging humor and one-hundred percent loyalty.
With a spot-on tone and brilliant directing, Milad Alami explores the pressure points of romance and society in one of this year’s most gripping films on love.
Each evening the young, handsome Esmail (Ardalan Esmaili) returns to the same bar to seduce women. As a rule, the nights end at the women’s apartments. But one evening he meets Sarah (Soho Rezanejad) who sees right through his seductive surface and reveals his secret. With a stylistically secure starting point that implements the approach found in romantic comedies, the Swedish director, Milad Alami presents here in his feature-film debut, a dark and deeply engaging portrayal of the terrible conditions of love in an unequal world. Ardalan Esmaili delivers one of this year’s most unforgettable roles and Susan Taslimi is radiant in a memorable supporting role.
Lisa Langseth deepens her collaboration with Alicia Vikander in her international debut and deals with death in what may be its most controversial form.
The two sisters, Emelie (Eva Green) and Ines (Alica Vikander) are headed towards a mysterious destination somewhere in the middle of Europe. They have had very different ways of dealing with their fears about life and death, and have difficulties arriving at a shared view of their upbringing. Langseth has always sought out tabu subjects, and in Euphoria she tackles assisted suicide. In an absurd reality in an up-scale clinic, the sisters have a only few days to try to understand each other’s life choices. One can brood over the past, but never retract it, and now it is time for them to come to terms with Emelie’s decision about how she wants to end her life.
Director: Iram Haq
Country: Norway, Germany, Sweden
A young woman ends up in a nightmarish situation when her family turns their back on her in an award-winning and already acclaimed honor-related drama.
All at once, 16-year-old Nisha’s (Maria Mozhdah) world falls apart when her father (Adil Hussain, Life of Pi) finds her with a boyfriend in her room. Up until then she has managed to live a double life where she hung out with friends in Oslo in the evenings and while at home she acted like the dutiful daughter to her Pakistani family. Iram Haq’s (I Am Yours, GFF 2014) has, in their second film, taken inspiration from personal experiences and created a nuanced, intense and multifaceted drama with the complex relationship between father and daughter in focus.
Dizzyingly beautiful cinematography in Jesper Ganslandt’s inverted refugee drama depicted from the perspective of four-year-old Jimmie.
A crisis situation in Sweden leads people to flee, and Jimmie and his father set off for an unknown goal. Ahead of them lie difficult trials: cramped together with strangers in a small rubber boat, long treks and dangerous border crossings. But there are also small oases of security in temporary refugee camps. It’s always arbitrary and hard to grasp where they are, who they can trust and who wants to hurt them. Everything comes to a head when they get separated. Jesper Ganslandt plays the father alongside his own son, Hunter, in a convincing drama that inverts perspectives and portrays the subjective experience of being displaced.
A female cultural giant initiates an affair with a younger man in Paavo Westerberg’s film about sexuality, power and passion for art.
Karin is at the top of her career as a solo violinist when she gets into an accident and loses the sense of feeling in her left hand. The realization that she is no longer at the top is a great defeat, but eventually she accepts that by teaching she can stay close to music. Like many male cultural giants before her, she muddles her passion for music and art with a physical attraction to a student, Antti, several years her junior. As things come to a breaking point, she is forced to choose between family and the loneliness of being at the top.
Malene Choi gives us a dazzlingly beautiful cinematic mythology about adoptees’ experience of betweenhood in a newly created debut.
Two Danish-Korean adoptees return to Korea for the first time. At the residence for returning Korean adopted children, they create their own broken family. Aside from the shared experiences of adoption, they all, in different ways, share the universal feeling of emptiness with the longing for their birth mothers, the country of origin and identification with a foreign culture. Choi deftly and consciously works at creating the between-space she describes on many levels: through images, segments, sounds and composition as well as through the choice of making a hybrid film in the space between feature and documentary film.
Like a dark, modern tale, Holiday develops into a triangle drama where violence and psychological oppression constantly bubble up to the surface.
At the center of the plot is Sascha (Victoria Carmen Sonne), mistress of Michael, the leader of a criminal gang that seeks pleasure in his luxurious residence at a Turkish resort town. Her existence is characterized by gourmet dinners and parties with expensive presents, but then she comes into contact with the pleasant, Dutch sailor, Thomas, who represents something else. In this uncompromising achievement, which brings to mind Ulrich Seidl, the debuting Isabella Eklöf has created a rattling and challenging gangster drama permeated by patriarchal power structures.
Tender personal portrait and magnificent camera work in a powerful debut about friendship, vulnerability and how brash words can fundamentally change people’s lives.
About 30 miles outside of Reykjavik lies Keflavik airport. There, two women exchange looks through plexiglass. The one comes from Guinea Bissau and is making a stopover in Iceland while trying to get to her family in Canada on a fake passport. The other is a single mother who has been evicted from her apartment and hopes that this probationary job at passport control will help her support her son. Isold Uggadóttir’s feature-film debut is an incredibly potent drama that gets in under your skin. The Guldbagge-awarded cinematographer Ita Zbroniec-Zajt operates the camera while Babetida Sadjo and Kristín Thóra Haraldsdóttir shine in the leading roles.
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