Filmverkstan

Greger Olsson and his wife are expecting their first child and she wants to buy a stroller, but Greger has other plans.

Three delusional drunks talk nonsense about the people around them.

A collage film and a journey through the Swedish landscape, traversing stellar distances in units of 5878 trillion miles. It is a film acutely in the present reflecting our temporal existence ... continuous and imperfect.

A group of independent filmmakers in Sweden brought together this anthology about homosexuality and homophobia.

A poetic study of thirst. Stylized images of flowing water and the face of a young woman flowing past as in a metaphysical dream. The magic and clarity of water makes it a classic topic in free film, used by many film-makers in different ways. Esselius again manages to imbue this theme with energy and vitality. (Filmform)

Frame Line is a collage film in black and white. Glimpses (both visual and audial) of Stockholm, people, gestures, flags and the Swedish national anthem appear through drawings, paintings and cut-outs. It is a film with an eerie flow between the ugly and the beautiful about returning, about roots and also about reshaping.

One day at a holiday home for the disabled in Hammerdal, Jämtland, depicted in clay animation and with authentic sound from the home that the film tells about. Various episodes show everyday events and relationships between the old ones who have lent their voices and characters to the movie figures. The film shows how an ordinary day looks like meals, mail delivery, card games and visits to the Salvation Army. In the end, the real people compare and comment on their characters.

About the competition of new technology with traditional ways.

The Earth Man, a small clay figurine, lives in a small town in Anatolia in Turkey. But he dreams of going to Europe and finally arrives in Sweden. In Sweden it's not that easy to get rich. There are many temptations and difficulties and in the be bad times, he can not decide himself about his destiny.

Hedman’s first films that are preserved (the early production on Super-8 is lost) are graphic-rich audio-visual studies, eg. 'A Semiotic Study of Unlogic Figure Codification (1973, together with H.P. Andersson) and Aforism (1974). These two, as well as most of Hedman’s films, were made with the support of Filmverkstan. Hedman also came to assist several animators at Filmverkstan, among others. Lilian Domec in her early animation Höghuset. (Filmform)

About Kurosawa, the moon, the ecosystem collapse, and Eva.

Short art film with animations starting with a rhinoceros

Tosun's short animation is an allegory of imposed boundaries. The film was made with the support of Filmverkstan, which became one of the most important institutions for filmmakers who immigrated to Sweden.

The Matusita house has been abandoned in the center of Lima for 50 years. A haunted house where all Lima's accidents are said to be housed. Some upper-class people around a dinner table bet, the loser has to spend the night in Matusita. It will be a meeting with the sorrows and dreams of the Peruvian people.

Portrays people who live in a high-rise but dream they were somewhere else. The visual anarchism of animation technology enables all dreams to come true. The last one featured is an old aunt who kicks down a fence to free some elephants. "Is it her anger coming out?" Annie asks. "It's clear that she's angry," replies Lilian, "I hope so anyway."

An animation painting recurring themes accompanied by an associative soundscape. Our companion through the sequences is a fly that appears in the image only to leave it just as quickly.

The young Greek filmmaker Menelaos Carayannis made some films for the Film Works before returning to Athens and establishing himself as a documentary filmmaker. The promise is an unassuming but poignant short film about a Greek family in Stockholm and about the double loyalties of the exile situation: Will they return to Greece or stay in the new country?

Helena Lindgren's film begins with her grandmother recounting how she was ashamed when she got her first period. Then follows a film collage in which Lindgren slowly moves the men from the male, medical and stigmatized to the physical, female and liberating to finally return to the grandmother who quotes her own mother: 'it should be this way'.