A Swedish indie shot on black-and-white 16mm with lively music: fleet-footed, mercurial, zany, improvised, atmospheric and full of sidesteps. Forty-year-old diabolo performer Alf still lives with his mum Monica and wanders, flaneur-like, through Norrköping, where the massive cultural cuts are happening to which director Kim Ekberg, inhabitant of the city and founder of anti-capitalist production company Post Post, is stepping up with Doggerland. For him, culture is about daily life, reviving the social democratic “we’re all on board”, about real locations, spaces and people who – like John and Anita Holm here – can become Alf and Monica while also being mother and son in real life. They like talking at cross purposes, too. She wants him to look for a real job and move out. When he finally goes on tour through Europe, she seems to regret it. Following XXL (2024, co-directed by Sawandi Groskind), Ekberg keeps building worlds of everyday wonder with familiar characters, where the creative and the social intermingle and one can learn what (documentary) film is capable of in evening classes from Jan Lindqvist. Like measuring time with light and production design, now and across the arc of life.