backtrack; Diner (1982)


A new era is coming! It is both confounding and refreshing to realize that massive amounts of more or less improvised dialogue can be damn rewarding. I’ll blame it on deft directing, engaging characters and inspired delivery.

Very funny and poignant, very little storytelling. In my book of adulthood.

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backtrack; Yol (1982)


Reflections of imprisonment, conceived inside jail and finished outside of it. Five inmates on temporary leave are subsequently shackled and destroyed by political oppression, social conventions, and/or religious traditions.

Strong, cruel, almost hopeless. In my book of pessimism and anger.

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Ilha das Flores (1989)

»The Isle of Flowers exists. God does not exist.«

A short, rushed, ironic documentary on the absurdities of capitalism. Repetitive and elliptical, told in a disrespectful, tongue-in-cheek, almost Monty Pythonesque manner. Highly acclaimed, though criticized for using staged depictions of poverty.

Amusing and clever, but a bit too simplistic for my book.

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backtrack; Tootsie (1982)


Could this one have been made today? A good-hearted, wholesome, fun-poking gender bender that was considered somewhat brave at the time, but in retrospect seems slightly awkward and maybe even dubious.

Teasing, inventive, well-acted, engaging, sympathetic – and quite funny at times. In my book of identity and role-playing.

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Ni liv (1957)

– I don’t know if I can ever give a »full report«.

A failed mission, a relentless manhunt, unbelievably strenuous feats. Big words like heroism, solidarity, and nationalism become meaningful in this effective and innovative war docu-drama, supposedly following the true events quite closely.

Marred by too overwhelming music. Still in my book of urgency, endurance and stamina.

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backtrack; Fanny och Alexander (1982)

fa1 fa2 fa3

Fantasy clashes with reality in a large-scaled family chronicle defending the »the little world« and the individual. Boyhood adventure, cruel saga, sentimental portrait of a bygone era – arguably one of Sweden’s finest movies ever.

Bergman had already been met with critical acclaim and universal respect for decades, but this one finally made him more broadly popular and loved – especially at home. In my book of high quality entertainment.

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Ρεμπέτικο [Rembetiko] (1983)

– I’m scared.
– Of what?
– My fate.

Greece 1919–1956. A woman’s life. This musical and visual fresco of escape attempts, forced sacrifices, and inevitable sorrow shows destiny at its most cruel. Mixes old heritage and new beginnings, oriental and european, emotional outbursts and lethargy, endurance, comfort, blood, intoxication, mirrors – with everyone always caught in the net of life, and existence repeating itself.

Unnecessarily long, at times ridiculously histrionic, bittersweet ending. In my book of dancing and playing to remember and forget.

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