Arbetsgruppen för Film

A film about the sculpture "Belt Buckles" by J.P. Molin.

Spik-Bebis (Nail-baby) lives in a warehouse. He starts the day by hitting a nail into his head. Shot entirely in Super-8, this live action film features “fast cars, fancy dinners and unusual hairdos”.

'Studie IV' (1955) by Peter Weiss portrays a liberation process. The main character moves between different rooms, rooms of significance for him, dragging something that constantly changes form but eventually turns out to be himself. It is an old and consumed I that disappears from him.

Old photographs and pictures with a dialogless soundtrack of a train ride.

Poetic film about Iris in different meanings.

A film about multi-media artist Kjartan Slettemark’s Nixon Visions, the collective title of his famous pictorial version of president Nixon, made 1971-74. It has its beginning in, among other things, Slettemark’s slogan ‘Opposition Must Pay Off’. The new, coffee-loving Nixon is marketed in a satirical balancing act between humor and seriousness. Slettemark’s advertising campaign is ‘a study of Nixon’s mental health’ in which ‘the face is the mirror of the soul’. (Filmform)

Study V: Interplay is constructed along the same principles as Study IV / Hallucinations. Sequences of photographic abstractions have been balanced against more realistic sections. Study V depicts a surrealistically charged encounter between two lovers, a young woman and a man.

In Söderquist's first film [I frack] In Tuxedo, playfulness and improvisation are combined with absurd humor. An artist steps into an empty studio and begins assembling objects into a tree-like sculpture. The sculpture is adorned with small white paper clouds, puppets and undefinable items; all the while, the studio fills up with new things: a suitcase, a mirror and formal attire. The artist, now wearing a top hat and tuxedo, paints the paper clouds and the wall in a frenzy of activity, ending with his sitting exhausted in a corner surrounded by the mess he has created. The growing chaos, the various layers of narrative and the music of the soundtrack, which was improvised and recorded live during a viewing of the final film cut, interact in counterpoint.