En kärlekshistoria

I have seen quite a lot of movies, all genres, all ages, but no one comes even close to touching my romantic side as much as this one. I had never heard of the film or director when I was about to watch the film at the local film enthusiast club, but I, as well as everyone else around me it seemed, wanted to know more after having seen this. Quite simply the sweetest, most natural projection of true young love on film. Ever.

Swedish auteur Roy Andersson's feature debut at the age of 27, who has only made 5 films so far (mainly due to a 25-year hiatus from 1975-2000 of directing feature film, he has made many shorts though during the spell), his latest work A PIGEON SAT ON A BRANCH REFLECTING ON EXISTENCE (2014), is a prestigious Golden Lion winner.

A Swedish LOVE STORY, centres on the puppy love between two teenagers Pär (Sohlman) and Annika (Kylin), and broaches tenderly their incipient sexual awakening. Set in the sun-drenched urban and sun-dappled rural Sweden, its colour scheme and raw warmth seem to contradict the typecast impression of Scandinavian landscape, a tinge of unusualness can be sensibly discovered through the non-existent narrative and its time-capsule pop references of the time: transistor radio, leather jackets, moped, smoking cigarettes (to emulate a sophisticated mien of adults), and pop songs aplenty. The intimacy and spontaneity between the two young leads suffice to induce a pleasant if to a certain extent, lackadaisical state of awareness. Ann-Sofie Kylin imbues her naturalistic pizazz potently in her laconic register and feline appearance (her captivating blue eyes in particular), and Rolf Sohlman, not a conventionally handsome boy, but his gauche precociousness scintillates great chemistry with Kylin.

However, a tongue-in-cheek savour of Andersson's shrewd perception of the contemporary society lies in the adulthood, Pär's father Lasse (Tellfelt) is a working-class garage owner whereas Annika's father John (Norström), is an ambitious refrigerator salesman, and the relationship between him and Annika's mother Elsa (Weivers) is constantly under the strain. Another prominent character is Annika's Auntie, Eva (Lindblom), a single woman, who has just been released from the convalescent hospital in the beginning and forever struck by a lugubrious melancholy since she cannot find any footing in real life.

The subplots of adults resolve half-heartedly around Pär and Annika's growing affections, until the last act, the puppy love has been sidelined to a a dinner party with both families in the countryside house of Lasse, where cone-shaped paper hats and crayfish bibs are taking the centre stage, the frictions of different views of the world inconveniently emerge, between the two patriarchs. A cynical and chagrined John bursts into a hysterical but also dead serious rant in the foggy morning and an impending tragedy seems to be in the offing. After reaching the emotional peak of despair and chaos, Andersson knowingly finishes off his confident debut with apparent levity but leaves behind an acrimonious taste of social critique which elevates the film above its central teenage affair, a sturdy and unique piece of work from an up-and-coming young filmmaker.

This film, as I see it, is a slightly absurd view of the world through the selective gaze of two young persons in love. Although this film is far more realistic that the later films by Roy Andersson, it still has an absurd feeling, especially in the final part, but also before. But as a young person this was, at least for me, the way the surrounding appeared to be. You saw things, heard things, people cried and did things for reasons which you did not fully grasped or cared about. The unhealthiness of your family and every-day had become like a too well-known background noise which you only got aware of later in life. Therefore, all the partially touched-upon subjects in this film which never are fully resolved or explained are a strength not a weakness, I think.

The film is also political. The class society in welfare Sweden is shown. It is not the upper-class vs. servant class, but rather it is the "quest" for prestige of the every-day among working and middle class that is portrayed, and always in a subtle but critical tone. But all this is through the selective gaze of the two young persons in love, hence never is the film becoming dogmatic in its political sense.

A very good film, also with a beautiful photo. As a portrait of society this film is excellent. And please, don't confuse it with Ingmar Bergman's films. They are good in some respects, but this one is more "Swedish" than Bergman ever gets.

This is a great little film, describing two teenagers first love experience. It really hits the spot, showing Sweden as it was in the 1970s, complete with dull apartments, the very tough moped gang and, of course, the summer party in the country house. Above all, it shows the joy and agony of teenagers being in love. It´s very easy to relate to the attraction that Per and Annika feels for each other and their shy, clumsy efforts to get together. Anyone who has been a teenager, and most of us have, is reminded of those wonderful years. This is how it really was!

Holy Moly! Watching this movie was like a little nostalgia trip even if you're not from Sweden. The photography is delightful and the film has a very naturally flowing pace giving you the feeling that you've really stepped backwards in time! I thought that the acting was also very modern. I couldn't completely relate to the 'humour', which is very subtle and a bit alien to me but it also didn't get in the way or take away from the main theme threading the film. While watching the main plot unfold - the story of first love between two adolescents - the social climate of that time in Sweden is very strongly conveyed in a continuous backdrop of this film. I got the impression that this movie was really 20 years ahead of its time all round. If the exact same film had been made now (almost, if not impossible, me thinks) it would still be a great success. Maximum Respect!