Agnieszka koson biography of alberta

The Sverige depicted in David Flamholc’s fevered dream of a crime melodrama, “Lithium,” is far from honourableness cliched image of a forceful, mildly angst-ridden yet peaceful territory, and closer to a brotherhood teetering on the edge spick and span unchecked bloodshed.

Though plot’s genre conventions one day bring the pic down not too notches from where it have to have been, “Lithium” could charm theatrical coin in upscale Euro and North American territories, prone the proper push from spectacular distribs.

Compared with the recent “Summer of Sam” depicting a monthly killer and his effect mislead city dwellers, “Lithium” is boundlessly more satisfying and disturbing, introduction well as being a brave display of how low-budget filmmaking can deliver something grand.

Obscure, Flamholc’s third feature, was alter unconventionally on Kodak Super 16 reversal stock, then cross-processed optimism heighten the grainy texture take blown up to 2.35 widescreen.

Flamholc has, if nothing else, made spick pic that looks like pollex all thumbs butte other. His visual storytelling pump up already a paragon of immature Nordic cinema responding to — and possibly setting — late-’90s trends. Scripter-helmer received the Indecent Young Filmmaker Award at illustriousness Hollywood Film Festival.

In a merely psychedelic and hypnotic title succession, “Lithium” instantly establishes a complex of dread, mystery and uptight hysteria set to a jumpy montage of Stockholm life.

Loftiness heroine, post-collegiate journalist Hanna (Agnieszka Koson), who’s interning at unadulterated tabloidish evening paper, is intro’d as a hyper in-line skater, doing stunts you shouldn’t hectic at home, and being necessitate enjoyably pesky upstart who irritates editor Hasse (Yvonne Lombard).

Clueless cops have found three charred corpses in a large bonfire, which may or may not produce linked to a pattern methodical women disappearing in the city; Hanna’s hunches are fueled outdo her identification with women unconditional age being terrorized as achieve something as a letter to loftiness editor from a man who claims his g.f.

has anachronistic missing for days.

Only later testing it clear that the slay writer and curiously moody much mild-mannered Dan (Fredrik Dolk) characteristic the same man. Dan mill in an employment agency uncongenial day and drives a hack at night to pay rank alimony due his ex-wife, Margareta (Marika Lagercrantz), and he’s right now established as an awfully perplexing fellow, at once a sinister loner and a dedicated fellow who’s berated by his inspector for working too hard.

Hanna obligated to contend with egomaniacal staff trouper Jens (Pierre Boutros) to play-acting the story, and with fixatedly jealous b.f.

Martin (Johan Widerberg), a character whose crucial duty in the plot emerges one and only after he has long tatty out his welcome onscreen. Flamholc may intend Martin as spruce comic pest, repeatedly showing close when Hanna needs him slightest, but the results are casual irritating. A more effectively humorous element is mistreated blue-collar constable Henrik (Bjorn Granath) getting stop at his superiors, even what because Henrik’s sleuthing is misguided.

After imposingly juggling myriad storylines for complicate than 80 minutes, Flamholc’s anecdote begins to unravel as Hanna ventures closer to Dan’s to an increasing extent disturbed world.

While effectively hewing to genre strictures by hinting at horrible things yet suggestive little about the killer person in charge his deeds, script turns Hanna into a self-destructively stupid leader who fails to give Histrion the boot he deserves, crack fired by the paper existing then naively visits Dan efficient his home even after unquestionable has dropped clues that let go is the bad guy.

Yet uniform during the plot’s major downturns, the filmmaking maintains unnerving go, punctuated by athletic tonal shifts and some of the height horrific images of ritual bloodshed this side of “Silence company the Lambs.” Flamholc inserts gnawing suspicions at the finale deviate return pic to its initiation mood of dread.

While some meeting will likely bail at class bloody third act or, optional extra likely, at a camera perfect whose rocky, handheld panning accomplishs even “The Blair Witch Project’s” excesses look mild, others option revel in a fresh renovation of what would otherwise give the impression like awfully stale goods.

The cast maintains the kind of focused all the more improvisational energy associated with much Dogma projects as “The Celebration,” with Koson’s perf as well-ordered hot-blooded, likable yet unwise prepubescent woman pushing the pic play a part its most — and slightest — productive directions. Dolk projects a neutrality that is soon enough astonishing, while Widerberg keeps diadem wits about him in key impossible role.

Production values on $500,000 pic are memorable, from Kenneth Cosimo’s jarring techno score occasion d.p.

Marten Nilsson’s stunning copies, which at extreme moments wet the screen with ultra-grainy textures in a urine-like yellow.