In twenty years many Swedes will have forgotten how
to ski and “Vasaloppet” will be but a memory.
This is the prediction of the TV-meteorologist Pär
A horrific thought; a Sweden without snow. A feeling
that we are losing something, that everything is fading
away, slowly disappearing. But at the same time, a wish
for something else. A search for a better place on earth.
Does such a place exist? And if it does, where can it
be found? In Alaska? Norrland? Siena? Two of the films
in this programme use Alaska as a metaphor, for the
filmmakers had never been there. Nostalgic memories
from those ski slopes of the past. A search for our
roots, our identities. A different Me. A different You.
A different We. The Other is left behind. The Others.
This programme contains both seriousness and humour
and we get to see a lot of snow as early as October.
NOTE!! The programme will be
screened once at The Cinemateque in Stockholm, Sturebiografen,
Birger Jarlsgatan 41. Sunday 18th october 4 pm. Tickets
can be purchased at Sture. Minimum age 15 yrs. Cinemateque
membership required, see their website
for more information.
Jessica Faiss – Smoke
2007, 3:40 min, DV, 4:3, Mute, Color
SMOKE depicts a burning incense stick. The smoke meanders
upwards against a dark neutral background forming forever
Hanna Ljungh - Exit: Alaska
2003, 4:30 min, DV, 4:3, Stereo, Color
In the video installation Exit: Alaska Hanna Ljungh
uses the script from the movie 'Five Easy Pieces' (1970).
One scene from the film features two women hitchhiking
across the USA with the aim to reach Alaska. Together
with a friend Hanna reconstructed the scene by making
a similar trip in her native country Sweden using the
film script in conversation with the people who give
them a ride. The soundtrack is coupled with a filmed
sugar landscape and a monitor with the text. The installation
is bound together by a white carpet slowly becoming
dirtier with every visitor that enters the room. Exit:
Alaska is an attempt to deconstruct an image. In the
installation layers of fictional and real information
are made to strive in different directions and clash
with each other. The installation plays with the inherent
contradictions within an action. Where the dirt of the
everyday and the lame attempt is juxtaposed in the same
room as the grand visions of stark white horizons.
r a k e t a – Far North
2009, 9 min, DV, 4:3, Stereo, Color
Where are the mountains, we wondered?
And went there!
Where is the ocean?
We checked that out as well.
The trip took us four years.
The film lasts nine minutes.
Marius Dybwad Brandrud - Hope
2009, 5:29 min, DV, 4:3, Stereo, Color
We worked with it for seven years. My mother and I.
Trying to take the perfect picture of me. Together.
Mårten Nilsson och Gunilla Heilborn - This is
2009, 10:40 min, 35 mm, 1:1,85, Dolby Stereo,
A group of people have moved to Alaska, to search for
They form an individualist group called Extreme Individualists.
Liselotte Wajstedt - Faces
2008, 3:29 min, DVD, 16:9, Stereo, Color
Filmed in Norrland during the summer of 2008. The faces
of the Samis are like landscapes, faces that are integrated
into the landscape and becoming part of a bigger entity.
The music is by Peter Svenzon and is performed with
voices only, without instruments. The film is part of
the dance performance ”Sami”, by Charlotte
Imri Sandström - Katarina Ana Nervosa
2008, 20 min, DV, 4:3, Stereo, Color
Based on the story of Catherine of Siena, a fourteenth
century saint who refrained from eating, and Ana, a
present-day anorexic. Katarina Ana Nervosa is a melodic
meditation on body, language and the presence of history.
Lina Selander - When the sun sets it’s all red,
then it disappears
2008, 9:27 min, DV, 4:3, Stereo, Color
Lina Selander’s work When the sun sets it’s
all red, then it disappears takes Jean-Luc Godard’s
1967 film La Chinoise as its starting point. Examining
the relationship between political, utopian and emotional
expressions in words and images, it explores the revolutionary
zeal of a time and the desire to start all over again.
La Chinoise is a film in the making, a film that tells
the story of a revolutionary and truth-seeking common
narrative while at the same time trying to be a part
of it, sharing its inherent expressions and problems.
Lina Selander’s film is also a work in the making,
engaging and evolving around Godard’s film and
the questions it addresses and responds to. But it is
also an installation about photography and storytelling.
Most of the photographs in the series of stills are
from the 1968 student revolts in Paris and Stockholm,
taken at meetings and demonstrations. But they also
show other motifs, such as a close-up of a growing blob
of moisture on a news reel showing Chairman Mao swimming
in the Yellow River, personal photos and some stills
from La Chinoise. All the images have been photographed
with flash and all the photos have a white circular
reflection on them which may represent or constitute
a common space where the spectator’s space and
that of the motif overlap, but where they are also defined
as separate – a blinding dazzle or hole in the
image which ultimately blocks any final narrative and
forces itself into the motifs and events that are being