Lantisar (2019)

Daughter versus father and rural versus urban. Speechy dialogue, clichéd script, almost propagandistic in tone.

A countryside road paved with good intentions, unfortunately not leading anywhere worthwhile. Far from my Askersund guidebook.

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Sing Street (2016)

Charming, warm, and funny about the intermingling of life and art. It helps a lot if you’re down with the eighties – and who isn’t?

Thoroughly likeable yet extremely unlikely, as things develop way too fast. Still, this almost makes it into my book of happy-sad music videos.

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The Babadook (2014)

– Please, help me! There’s something wrong with my son!

Strange child. Strained relations. Ominous book you can’t get rid of. Death in the family. Secret in the cellar. Intruder. Flickering lights. Insects. Cracks in the walls. Haunted house. Not being listened to, nor believed. Unbelievably illogic behaviour. Impending madness. Et cetera. For a horror flick lauded as new and different, this contains quite a few standard horror tropes. But the ending is cleverly different!

Matter-of-factly and symbolically covers topics such as cruelty, loneliness, loss, longing, lack of love, fatigue, and grief. The acting isn’t always that convincing, but the bad things you can’t get rid of sure are. A nice debut, though not in my book of scares, sorrow, and solace.

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Nästa station (2018)

Endearing stop motion bagatelle about the insecurities and short attention span of contemporary life.

Both relevant and to the point, though not in my book of internet dating.

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Destino (2003)

A modern-day attempt at finally completing the unlikely and aborted 1940s collaboration between Disney and Salvador Dali. A suggestive attempt, but partly also a somewhat clichéd parade of Dali’s signature visual imagery.

Intriguing concept and nice execution, but not interesting enough for my book of animated surrealism.

P.S. Someone made a nice version with Pink Floyd music:

https://www.youtube.com/watch?v=hc_f9VDVsNk

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Tårtgeneralen (2018)

More lightweight than Roy Andersson, more eighties than Ulf Stark, more Swedish than Wes Anderson. Touching, funny, and quirky (without becoming irritating). The semi-documentary parts poses questions about authenticity – fitting for a movie concerned with what is true!

A time-capsule/biopic well worth watching, even if it might not qualify for my book of outsiders wanting in, and small-town losers somehow winning.

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Contratiempo (2016)

Chance, guilt, retribution – in continuously updated alternative timelines. A cool, clever, cerebral, complicated criminal construction, though emotionally lacking and with too many story turns.

Not in my book of false leads and multiplying possibilities.

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