Here is Linda Maria Birbecks adaptation of Lina Arvidssons teenage romance” There should be rules “on the road between childhood ( whether you got one or not) and the adult world and how this road is a completely different world in itself. If someone now thought otherwise.
Other who had been held there, Antoine and René in “The 400 Blows”, Enid and Rebecca in “Ghost World,” Barbro in “Giant Secret,” Reine in the “Children’s Island” Josefin and Ella in the “gap”. All have been exciting to meet, in adulthood and the former, then it really tickled to take note of their peers in “dangerous” situations (angering the addition parents’ generation was extra awesome).
Mia and Miriam is this story’s subversive fjortisar in the process of various prohibited activities with the purpose to make sense of life’s essentials before 18 strikes. The methodology includes learning to drink red wine, smoking and (extra nasty) eating olives. The almost omniscient buddy Karl is happy to hand with virtually priceless advice.
Then there are the sex. Miriam has, through a 20 year old married man, has already been started. The sturgeon, for different reasons, Mia. To make matters worse, she has a father who drinks too much and a mother who tapped with a trebuchet with Ulf Lundell inclinations. Mia endures. Although there are no rules, like taking driver’s license or where the steps as Alcoholics Anonymous have. It should of course.
Exactly what rules feature film debut Birbeck (who also wrote the script) followed Anas safely in the phrase “free after” in the film’s opening credits. Certainly, it is she who has chosen an imagery that looks as if Fellini had landed on an American indie movie. In the line she has created a border and timeless “den” of Malmö through meticulously cut-and-paste rarely been so brilliant. Surely, she, sometimes more than moderately, have been inspired by “Ghost World”. Let us in any case establish a healthy contrast to the hand-held hands-on ‘Show Me Love’ look. And to Linda-Maria Birbeck very happy should do more movies.
The acting offers a sympathetic young trio where Lo Salmsons Miriam fine parry the brazen with the girly little and Louis Särnklints Karl has a good zen and very good pile. Anna Hägglin (which is pretty much like a young Lauren Bacall) makes a mopsig Mia enough to survive, but both rules and Lundell.
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