More often than not, when there is a family gathering in a film, things end badly. Elin is the starting point for an exploration among this complex family nucleus, and it is to her that the spectator will remain tied to throughout the film.
So much so in fact, that the film seems like an anthem to her. She is a captivating, dramatic and entertaining character who combines elements of fragility, unruliness and madness. As so often is the case in families, roles are very clearly set out. Katarina is the reliable one, Lova is the most taken care of and Elin is treated badly.
The three sisters meet again, laugh and dance. But celebrations quickly give way to old wounds and repressed grudges, revealing little by little a mother who is not as loving and kind as she first appears. The theme - that of a family on the brink of explosion - is a recurring one in Nordic cinema. They are just pissed off. Which is why rehearsals lasted six months, starting with improvisation: washing dishes, going out together, sitting on the sofa.
Now we are still in touch. In the end we managed to create a real family. The intimacy you feel between the four actresses is indeed strong. In the end, it really does seem like they are alike. A successful endeavour then for a successful film: a bittersweet comedy, a splendid portrait of women, a truthful, hazy painting full of family joys and pains.
Did you enjoy reading this article? Please subscribe to our newsletter to receive more stories like this directly in your inbox. The Swedish director and his son Hunter star in his cutting-edge fourth feature, still in production, which was presented at the Norwegian International Film Festival.
