Norwegian

“Shetlandsgjengen”, which translates as “the Shetland-gang”, relates the true story of the illegal traffic across the North Sea from German occupied Norway to Shetland during World War II. A small group of Norwegian sailors loosely connected to the British navy take refugees from Norway to Shetland in small fishing-boats, equipped only with low-caliber weapons to protect themselves from German airplanes and patrol-boats. The film is closely based on real events, and many of the members of the gang, including the leader, called “Shetlands-Larsen” play themselves.Read More »

Jarle is 24 when a phone call rouses him from his drunken sleep. It is his mother, telling him that his father is dead. Instead of sadness, Jarle is filled with anger and a sense of relief. It forces his mind back to something he’d rather forgotten – his childhood at the orphanage in Stavanger. When “Orheim” was his surname; – set in 1980s Stavanger, this coming-of-age drama tells of Jarle’s conflicts with his alcoholic father Terje, who sees himself as the family’s “company commander”, a position which he simultaneously sabotages with his bouts of violence; and of the consolation that Jarle seeks in pop music and political commitments – and in the girls that cross his path. The Orheim Company” sensitively and compassionately depicts a conflict in generations in the shape of a boy growing up with an alcoholic father, but also an energetic story about teenage lust, pain and passion – about liberation and redemption; that many members of the cinema audience can relate to.Read More »

Synopsis:
‘The film “Ung frue forsvunnet” by acclaimed female Norwegian film maker Edith Calmar starts off this story in 1949 with a husband come home from a mountain trip, finding his young wife for two years, being traceless missing. She’s been gone for days, and the police is immediately contacted. A couple living on boat finds the woman’s hat floating, and it seem she’s dead either by being killed or falling into the river.
The manuscript is quite well done, and the story unfolds as the husband tells about his life with his wife, from meeting her casually. There’s a secret she’s never told him, because he didn’t want to hear it. This secret obviously is the reason for her disappearance.’
– OJT (IMDb)Read More »

Quote:
Reprise is a Norwegian film directed by Joachim Trier, starring Anders Danielsen Lie, Espen Klouman-Høiner and Viktoria Winge. Co-written over the course of five years with Eskil Vogt, it is Trier’s first feature-length film. The film was the Norwegian candidate for the Oscar as best foreign language film in 2006.Read More »

Synopsis wrote:
Shipowner Kai Skaug is dead. The parson in his funeral speech speaks of a man who passed away in his prime, only 54 years old. The flower-decorated crematorium is filled with mourners. In the first row sits his old mother, his brother and sister, his brother- and sister-in-law, his nephews and cousings – his next of kin….Read More »

Beware of Children traces the dramatic aftermath of a tragic event in a middle class suburb of Oslo.

During a break in school 13 year-old Lykke, the daughter of a prominent Labour Party member, seriously injures her classmate Jamie, the son of a high profile right-wing politician. When Jamie later dies in hospital, contradicting versions of what actually happened risks making a difficult and traumatic situation worse.Read More »

The relationship between artist-partners Tomas and Anja is put to the test after Anja gets a life-threatening diagnosis.Read More »

Gritt left Norway with the dream of becoming an actress, but failed to find fame in Hollywood and Berlin. Back in Oslo, she manages to get an internship at an underground theatre company and secretly moves into their performance space, embarking on a mission to bury capitalism and the patriarchy.Read More »

Quote:
The entire point of Peter Watkins’s cinematic career, so he seems to indicate in his interview with himself in the liner notes for New Yorker Video’s Edvard Munch DVD, is to directly challenge the perception deadening (at best) and enslaving (at worst) effects of the hegemony of 20th-century media, the conception of which was arguably the arrival of the moving picture. Strangely enough, two of his most acclaimed films take place decades before the Edison’s kinetoscope, but Watkins seems to use the anachronism of creating a hypothetical “first-person cinema” in the B.C. years to accentuate his impassioned appeal for elevated media consciousness. His recent six-hour millennial masterwork La Commune (Paris, 1871) was blunt about it, framing a rag-tag experimental theater ensemble attempting to reenact a moment of French social resistance with televised coverage from within (two community reporters practically serving as the film’s tour guides) and without (daily reports from the State-suckling network distorting the public’s all-but-assigned opinion).Read More »