Thursday, November 12, 2015

Tender julfars with digital resolution dialogue – the Swedish newspaper Svenska Dagbladet

Rating: 4 of 6

From a director’s point of view is easy to understand the appeal of Christmas movies. It’s a genre where various contemporary issues with a light touch and gentle irony can be discussed before they are allowed to dissolve in julfirandets eternal glitter and pleasure. “A wonderful fucking Christmas” is also a Christmas story carefully cast after the 2010s it set in: in one Christmas Eve celebration grasps the director Helena Bergström and screenwriters Edward af Sillén and Daniel Rehn over the norm criticism, rainbow and racism, all based at a renovation projects in the burg modern parts of Bromma, so that housing policy can have a corner of the cake.

The central figures are the newly engaged Simon and Oscar, who with the help of his friend Cissi going to be parents. Cissi’s not only a borrowed womb, but the three to stay and raise the child together in the house, and you have chosen Christmas Eve to announce the families that – a snotty, value conservative nuclear family born of of Göteborg upper class, and a swinging skilsmässodito with a grekiskättad dad and a mother who acquired a Muslim Boytoy which guarantees jokes about both ham and schnapps spirit. None of the parental constellations turn now frivolous of his sons’ decision to set up parental trio, quite the opposite, whereupon the Christmas celebrations just switching from major to minor.

“A wonderful fucking Christmas” Helena Bergström’s fourth film and as a filmmaker, she reminds a lot of French Julie Delpy with her sharp comedic look for family life all the silly conventions, and at least here and there surely touch to depict them. At best, which is the first half, the film is also a piece of brilliant entertainment, a both tender and well-timed mix of farce and naturalism.

The turn to melodrama a bit into the expected – the whole format is based on the – but it is unfortunately an unnecessary back-heavy variety, complete with a frustrated fill Santa and melancholy pianoklink the villa quarter’s supposed untruthful December darkness.

The end is fast ihoprafsad but also fully genre logical – Christmas film is just as structurally stiff regulated by the romantic comedy , which on the other hand, does not necessarily excuse precisely this kind of imagination in writing the script.

But even there the action live on artificial respiration, dialogue is extremely digital resolution. Not least in the scene where the party argue about, and if so what, to be eaten before or after Donald is out and spinning on a nearest Larry Davidsk level, written and performed with perfect pitch for all strained conversations about julfirandets very most fragile compromises.

Personality Ensemble are excellent, especially Maria Lundqvist who gives her the paper a little flat upper mom a big nuance, and Robert Gustafsson whose froth Tinne homophobic equipped with the film’s most difficult beloved personality. He portrays it without lapsing into the waiting comic bellows and grimaced are possibly a disappointment for Killing phalanx of the fan base, but in return the role to grow into the best throughout his career.


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