This year’s edition of the film festival in the far North of Germany presents again a selection of new works from the Scandinavian and Baltic countries. The Nordic Film Days Lübeck (1-5 November — read the news) are one of the most important festivals specialising in this film culture. Besides the presentation of contemporary titles, in Lübeck it is also possible to rediscover some of the classics from the region. Moreover, a major section of the festival are its homages, dedicated to a series of illustrious filmmakers who are considered key references for the cinema of their countries of origins, but also for European cinema altogether.
After last year’s homage to the Icelandic director Friðrik Þór Friðriksson, this year it is Swedish filmmaker Roy Andersson‘s turn. Andersson will be given an Honorary Award, and a selection of his films, curated by the filmmaker himself — namely four feature films: Song from the Second Floor, 2000; You, the Living [+], 2004; A Pigeon Sat on a Branch Reflecting on Existence [+], 2014; and About Endlessness [+], 2019, as well as a showcase of his commercials — will be screened. The program will be completed by two documentaries giving particular insight into the artist’s life: Tomorrow’s Another Day, by Johan Carlsson, from 2011, and Being A Human Person by Fred Scott, from 2020.
“Roy Andersson has created an unique body of work that explores personhood in all its vulnerability, inadequacy, and brutality,” says the artistic director of the Nordic Film Days Thomas Hailer, “His eye is keen, but empathetic.” While Cineuropa spoke to Roy Andersson personally, he shared his joy about this recognition. At the same time, he said that at this point of his career, prizes no longer have the same meaning they used to: “Even though I still enjoy making cinema, my career is over.” He added: “Maybe I will write now. I have always dreamt of being an author when I was young. But then I saw so many great movies in my youth that inspired me.”
Born in 1943, Andersson first studied philosophy and literature, before graduating from the Swedish Film Institute. His style changed in the middle of his career. “I first was considered a representative of the New Wave in the 60s, but then I left realism behind and became close to what you call Neue Sachlichkeit,” Andersson explained. This major change however did not have a particular impact on his opportunities to make films. The funding situation stayed the same, “but of course it’s never easy to make films,” said Andersson.
Most of the filmmaker’s work has been produced in his Studio 54 in Stockholm: “I like to work with the same staff. I had three cinematographers in total, but the rest of the crew is almost always the same.” Asked about his opinion on the new generation of Swedish filmmakers, Andersson said: “I have been sick lately, this is why I wasn’t able to be up to date. But I will catch up now.”
Source : Cineuropa
