Niclas Larsson’s “Mom, Sofa” was awarded the Dragon Award for Finest Nordic Movie at Goteborg, taking dwelling the appreciable quantity of SEK 400,000 ($38,000).
Led by Ewan McGregor – this yr’s recipient of the Honorary Dragon Award – the U.S.-Swedish-Danish co-production additionally options Ellen Burstyn and “Bones and All” breakout Taylor Russell, making it one of many starriest Goteborg winners lately.
“My therapist was flawed! I pitched him this concept a number of years in the past and he stated: ‘Don’t do it.’ I’m from right here and this competition has meant the world to me. Standing on this stage is a bit surreal,” stated Larsson.
Jurors Lena Endre, Ramata-Toulaye Sy, William Spetz, Tonia Noyabrova and Anna Novion appreciated the best way it reveals “how troublesome it’s to let go of the previous, settle for loss and eventually embrace the longer term.” They praised “unique and daring storytelling, with a variety of humor,” in addition to the usage of “artistic cinematography.”
Within the movie, bought by Charades and based mostly on Jerker Virdborg’s novella, three siblings discover themselves in a small furnishings store in the midst of nowhere. The issue is, as soon as inside, their mom refuses to depart the sofa, leaving them stranded and pissed off.
Earlier this week, opening up about his profession, McGregor additionally talked concerning the “fantastically directed” movie.
“I used to be despatched the script, out of the blue, and was completely spellbound by it. I simply needed to do it. It’s not day by day and never each script that makes you are feeling this manner. It was courageous, the best way [Niclas] solid the movie and the best way he shot it. He wasn’t swayed by all these enterprise individuals who let you know how issues needs to be executed. I admired it and I nonetheless admire it now.”
The Dragon Award for Finest Performing went to Oona Airola for Miia Tervo’s “The Missile,” persevering with Finnish actors’ fortunate streak on the fest. Final yr, Alma Pöysti was seen for “4 Little Adults” – which additionally featured Airola – kick-starting an eventful yr that culminated in a Golden Globe nomination for “Fallen Leaves.”
The Missile
Credit score: Sami Kuokkanen
Previously, Airola drew reward for her work in Juho Kuosmanen’s “The Happiest Day within the Lifetime of Olli Mäki,” awarded at Cannes, and “Land of Hope.” She additionally appeared within the Sundance premiere “Woman Image.”
“Her character is caught between previous and future love, a messy household you wish to transfer in with and a missile. Due to this stunning efficiency, we’re caught there proper along with her,” stated the jurors.
On the documentary entrance, Sundance revelation “Ibelin” by Benjamin Ree proved unbeatable, whereas “Fifteen Zero Three Nineteenth of January Two Thousand Sixteen” by Marius Dybwad Brandrud and Petra Bauer, and Suvi West and Anssi Kömi’s “Homecoming” picked up particular mentions.
“It’s a couple of boy – our boy. These are essentially the most emotional days of our lives,” stated the daddy of the movie’s protagonist, gamer Mats Steen who died of a degenerative muscular illness.
“We have been instructed he can be disadvantaged of the chance to type friendships, of experiencing love. However then, folks from all around the world got here to his funeral. Individuals we’ve by no means seen, folks we didn’t know even existed. It’s a film about new methods of forming friendships and experiencing love. And one which asks elementary questions on what it means to guide a priceless life.”
The Sven Nykvist Cinematography Award went to Juan Sarmiento G. for “Madame Luna.” Nikolaj Arcel’s “The Promised Land” achieved the double whammy of convincing each critics and the general public, strolling off with Fipresci and viewers awards
“It was a robust version and I’m very pleased with it,” competition director Jonas Holmberg tells Selection. It additionally marked Holmberg’s final outing within the position, with Pia Lundberg already tapped as his successor. Inspired by Ruben Östlund, the viewers despatched him off with a standing ovation.
“Should you take a look at this yr’s Nordic choice, there may be selection. Generally, there’s a preconception that Nordic cinema is bleak, that there’s at all times some man operating round within the woods. However we had zombies, we had science fiction, comedy and historic epics. And one factor may be very apparent: That is at all times a showcase for unbelievable performing.”
Sprawling interval dramas did make a triumphant comeback this yr, as exemplified by “The Promised Land,” Finland’s “Stormskerry Maja” and Nils Gaup’s “The Riot.”
“There may be this second in Nordic tradition when so many individuals are trying again at historical past and reevaluating it. Lately we have now been speaking about our colonial previous, too, and so many filmmakers are searching for up to date views each on a small and on a much bigger scale.”
Ibelin
Goteborg intends to be a spot the place younger and “tremendous nervous” filmmakers can safely co-exist with the largest stars, he says.
“You need them each to really feel welcomed. In the case of Alicia Vikander, for instance, she is working with us lots on the Alicia Vikander Movie Lab. She is an enormous star, certain, nevertheless it’s a distinct relationship as a result of we even have a challenge collectively. It’s really one in every of our targets: to encourage younger folks to inform their tales.”
Holmberg additionally mirrored on his legacy on the fest.
“I’m not dying! I’m solely 41 years outdated, you realize,” he laughs.
“It’s not nearly creating ‘protected house,’ as a result of there must be this factor of danger. I’ve been working right here for 10 years and cinema has modified a lot. It’s not the identical world. It has been so fascinating, making an attempt to determine all of it out.”
He provides: “It’s very straightforward to turn into too conservative. All of us love theatrical expertise and we wish to protect it, however you’ll be able to’t cease time. You gained’t win this combat. Nonetheless, when Thierry Frémaux talked to Ruben Östlund throughout the competition, he stated that in terms of cinema, the true ‘unique’ is just not the movie itself – it’s the screening. That’s what movie festivals are about, too: About creating unique and distinctive conditions. It’s troublesome, nevertheless it’s attainable.”
Full Record of Awards:
Dragon Award Finest Nordic Movie: “Mom, Sofa,” directed by Niclas Larsson
Dragon Award Finest Performing: Oona Airola for Miia Tervo’s “The Missile”
Dragon Award Finest Nordic Documentary: “Ibelin,” directed by Benjamin Ree
Particular Point out: “Fifteen Zero Three Nineteenth of January Two Thousand Sixteen,” directed by Marius Dybwad Brandrud and Petra Bauer
Particular Point out: “Homecoming,” directed by Suvi West and Anssi Kömi
The Sven Nykvist Cinematography Award: Juan Sarmiento G. for “Madame Luna”
Fipresci Award: “The Promised Land,” directed by Nikolaj Arcel
Viewers Dragon Award: “The Promised Land”
The Ingmar Bergman Worldwide Debut Award: “Me, Maryam, The Kids and 26 Others,” directed by Farshad Hashemi
Dragon Award Finest Worldwide Movie: “There’s Nonetheless Tomorrow,” directed by Paola Cortellesi
Draken Movie Award: “2008 Loves You,” directed by Nellie Lexfors
Youth Jury Dragon Award: “A Ravaging Wind,” directed by Paula Hernández
Mai Zetterling Grant: Jenifer Malmqvist
Honorary Dragon Award: Ewan McGregor
Nordic Honorary Dragon Award: Sidse Babett Knudsen.
Dragon Award Finest Swedish Quick: “Loss of life of a Hero,” directed by Karin Franz Körlof
Viewers Selection Award for Finest Swedish Quick: “I Am the Hearth,” directed by Patrik Eklund
Angelo Award: “If Everybody Simply Leaves,” directed by Karin Wegsjö and Nazira Abzalova
Nordisk Movie & TV Fond Prize: Johan Fasting, Silje Storstein and Kristin Grue for “Energy Play”
