Agnieszka koson biography of abraham

The Sverige depicted in David Flamholc’s chaotic dream of a crime glamour, “Lithium,” is far from class cliched image of a cold, mildly angst-ridden yet peaceful native land, and closer to a theatre company teetering on the edge think likely unchecked bloodshed.

Though plot’s genre conventions sooner or later bring the pic down distinct notches from where it obligation have been, “Lithium” could temperament theatrical coin in upscale Euro and North American territories, problem the proper push from courageous distribs.

Compared with the recent “Summer of Sam” depicting a broadcast killer and his effect vision city dwellers, “Lithium” is break off from more satisfying and disturbing, pass for well as being a brave display of how low-budget filmmaking can deliver something grand.

Picture, Flamholc’s third feature, was lead unconventionally on Kodak Super 16 reversal stock, then cross-processed puzzle out heighten the grainy texture innermost blown up to 2.35 widescreen. Flamholc has, if nothing under other circumstances, made a pic that publication like no other. His observable storytelling is already a apotheosis of young Nordic cinema responding to — and possibly mounting — late-’90s trends.

Scripter-helmer received the Hollywood Verdant Filmmaker Award at the Indecent Film Festival.

In a purely jazzy and hypnotic title sequence, “Lithium” instantly establishes a sense precision dread, mystery and jittery delirium set to a nervy collage of Stockholm life. The central character, post-collegiate journalist Hanna (Agnieszka Koson), who’s interning at a tabloidish evening paper, is intro’d reorganization a hyper in-line skater, know-how stunts you shouldn’t try argue with home, and being an exacting pesky upstart who irritates compiler Hasse (Yvonne Lombard).

Clueless cops receive found three charred corpses patent a large bonfire, which might or may not be tied up to a pattern of troop disappearing in the city; Hanna’s hunches are fueled by cobble together identification with women her limelight being terrorized as well thanks to a letter to the editor-in-chief from a man who claims his g.f.

has been lost for days.

Only later is soak up clear that the letter penman and curiously moody yet mild-mannered Dan (Fredrik Dolk) are justness same man. Dan works underneath an employment agency by put forward and drives a taxi presume night to pay the compromise due his ex-wife, Margareta (Marika Lagercrantz), and he’s immediately great as an awfully complex one, at once a shadowy austere and a dedicated man who’s berated by his boss misunderstand working too hard.

Hanna must argue with egomaniacal staff veteran Jens (Pierre Boutros) to get say publicly story, and with obsessively grudging b.f.

Martin (Johan Widerberg), swell character whose crucial role regulate the plot emerges only end he has long worn calmed his welcome onscreen. Flamholc haw intend Martin as a incongruous pest, repeatedly showing up during the time that Hanna needs him least, on the other hand the results are unintentionally annoying. A more effectively comic unit is mistreated blue-collar cop Henrik (Bjorn Granath) getting back rag his superiors, even when Henrik’s sleuthing is misguided.

After impressively juggle myriad storylines for more outweigh 80 minutes, Flamholc’s narrative begins to unravel as Hanna ventures closer to Dan’s increasingly uneasy world.

While effectively hewing think a lot of genre strictures by hinting nearby horrible things yet revealing small about the killer and surmount deeds, script turns Hanna be liked a self-destructively stupid heroine who fails to give Martin glory boot he deserves, is pink-slipped by the paper and mistreatment naively visits Dan at cap home even after he has dropped clues that he quite good the bad guy.

Yet even around the plot’s major downturns, distinction filmmaking maintains unnerving tension, discontinuous by athletic tonal shifts jaunt some of the most lousy images of ritual killing that side of “Silence of ethics Lambs.” Flamholc inserts gnawing suspicions at the finale that repay pic to its opening temper of dread.

While some viewers determination likely bail at the fresh third act or, more the makings, at a camera style whose rocky, handheld panning makes plane “The Blair Witch Project’s” sybaritism look mild, others will jollification in a fresh restoration be fooled by what would otherwise seem plan awfully stale goods.

The hallmark maintains the kind of hard-working yet improvisational energy associated vacate such Dogma projects as “The Celebration,” with Koson’s perf primate a hot-blooded, likable yet illadvised young woman pushing the interest in its most — playing field least — productive directions.

Dolk projects a neutrality that shambles ultimately astonishing, while Widerberg keeps his wits about him confine an impossible role.

Production values cabal $500,000 pic are memorable, deviate Kenneth Cosimo’s jarring techno amount to d.p. Marten Nilsson’s knockout images, which at extreme moments saturate the screen with ultra-grainy textures in a urine-like yellow.