Tuesday, August 18, 2015

On the journey through a different Sweden – Daily News







When the director Andreas Ohman was nine years old he lost his sister in a car accident. It has influenced his filmmaking, and on Friday, the last part of his trilogy about sibling relationships. “Immortal” is a road movie by a different Sweden.




When the director Andreas Ohman was nine years old he lost his sister in a car accident. It has influenced his filmmaking, and on Friday, the last part of his trilogy about sibling relationships. “Immortal” is a road movie by a different Sweden.

Abandoned hotel, drained and lövtäckta swimming pools, pine furnished hostel in the 70s orange color scales. Sink Realistic RV campsites in E4 periphery interspersed with magnificent views in the twilight.

The fulvackra theater seats, as familiar as exotic, represents fund for ‘Immortals’, a film about Isaac (Filip Berg) and Em (Madeleine Martin). In a kärleksrusigt moment decision they take a car from Stockholm up to Tornio to steal a cello to her sister.



But soon enough degenerate, as so often in road movies, in a crime spree in which crimes are becoming more serious. The protagonist Isaac is dressed in jean jacket and white t-shirt, similar to what Martin Sheen bar in Terence Malick’s brutal masterpiece “The Cruel country” from 1973 is a clear sign of where it barks pendant.

– Yes, the clothes are a conscious reference, I tried to check all the classics of the genre. But what I noticed was that if you compare with “The cruel land” or “Bonnie and Clyde” as the main characters in the films partly unsympathetic. I was looking for a feeling that “this could happen to me,” make it feel credible, says Andreas Öhman.

In an interview with magazine Filter, he told me recently how he works with improvisation, to make the actors more present in the scenes when they do not advance the dialogue. Although the characters have chiselled out based on the actors’ thoughts.

– The great thing about Andrew is that he has such a clear vision but still takes the time to let us in working with ideas. We got to be early and create from scratch, so he picked the best of what we are pouring out of us, says Madeleine Martin.

Even Filipsberg appreciated the organic approach.

– I have been featured in many TV series and without talking down there, so it’s more like going to work, “In scene 67, you should have a blue sweater on you.” There’s pre-production lasted so long that as an actor is doing its part in quite a big soup. It can be fun to do a “pitch” film because it’s a different environment, but this was the man with the birth in any way. And it is a rare luxury.

“Immortal”, which has been premiere on Friday, is the final part of Öhman’s theme trilogy about sibling relationships, which was preceded by the Swedish Academy grant “In space there is no feelings “(2010) and” Bitch Hug “(2012). Ohman says that it comes from his own feelings since he lost his sister in a car accident when he was nine years old.

– It has made me interested in how it would be if I had a three year old sister , someone who helped me when I was feeling bad in high school: all thoughts of “Who am I”, “what I want”, then I have missed someone to share with. Very early on, I had to deala with the loss of a sibling, and sought other close friends or a love relationship that could take the place says Öhman continues:

– Since I am interested in relationships in general in my narrative, whether it’s a movie about Asperger’s, or an action film they are about the relationships in the end.

After his debut with “In space …” A debate on the cultural pages where Ulrika Kärnborg in Aftonbladet described the film as a world in which “men are timid stuffed animals and women hysterical.” In “Immortals” is the protagonist Em a soul chipped girl with weak impulse control and depressed diary entries. director Andreas Öhman with the actors Filipsberg and Madeleine Martin. Photo: Eva Tedesjö

– There is a positive trend in Hollywood where female characters are allowed to be fantastic fun in “Bridesmaids” or more complex as the roles played by Jennifer Lawrence often portrays, where they will not be reduced Item. But whether it is a male or female character I write so I want them to not only play a role, but also to be human. There are as many girls as boys in the world. I want to treat it as a movie as well and dare to do characters that pull in different directions.

The other year started Ohman a crowdfunding campaign online to raise money for a TV series, “Those bastards should be shot” where women fight back against their oppressors. The collection survived the target of 200,000 by a good margin, total company had a 260,000 crowns.

– We are developing the concept further in order to sell it to a TV channel. As always when you try to do something outside the box it is a long political discussion. I hope we will be able to do it next year, says Ohman.

Photo of the text: Eva Tedesjö.

Andreas Öhman’s favorite -roadmovies

Thelma & amp; Louise (Ridley Scott, 1991)

“There are good female characters who are not steeped in the few bays, and with extremely good actor effort straight through.”

True Romance (Tony Scott, 1993)

“Tony Scott’s best film, it has so many wonderful references and Tarantino clear tone. I am extremely inspired by Tarantino and early tried to find a way to write dialogue like him. Dialogue is always important to me, and so I approached improvisation as a good way to get calls that seem genuine, and not just contain information. “

Bonnie and Clyde (Arthur Penn, 1967 )

“A very brutal film, but also interesting from a historical perspective. The unsympathetic and indifferent female character was something unusual at the time. “






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