Bad Faith press book - TrustNordisk

S O N J A R I C H T E R
J O N A S K A R L S S O N
A FILM BY KRISTIAN PETRI
SONJA RICHTER JONAS KARLSSON KRISTOFFER JONER SVEN AHLSTRÖM MAGNUS KREPPER CASTING JEANETTE KLINTBERG DIRECTOR KRISTIAN PETRI SCREENPLAY MAGNUS DAHLSTRÖM PRODUCER JOHANNES ÅHLUND
ASSOCIATE PRODUCER MATHILDE DEDYE LINE PRODUCER FRIDA JONASON CINEMATOGRAPHER HOYTE VAN HOYTEMA EDITOR JOHAN SÖDERBERG PRODUCTION DESIGNER CHARLES KOROLY SOUND ANDERS FRANCK COMPOSER FREDRIK EMILSON
A CO-PRODUCTION BETWEEN ST PAUL FILM, FREDRIK HEINIG / FILM I VÄST, JESSICA ASK / SVERIGES TELEVISION, GUNNAR CARLSSON / NORDISK FILM, LONE KORSLUND / EIGHT MILLIMETERS, JONAS KELLAGHER / EUROPA
SOUND, BOSSE PERSSON / KAMERATEN, PELLE MELLQVIST / LJUD OCH BILDMEDIA, DANIEL THISELL AND BJÖRN THISELL / NORDISK FILM POST PRODUKTION, MIKAEL ÅSTRÖM / CANAL +, SUZANNE GLANSBORG
WITH SUPPORT FROM SVENSKA FILMINSTITUTET, COMMISIONER PETER GUSTAFSSON AND NORDISK FILM & TV FOND, COMMISIONER HANNE PALMQUIST

INTRODUCTION
Bad Faith is a psychological thriller with more than one level of drama. It could perhaps be seen as a murder story
and in ways it is; but it’s also and perhaps more importantly a love story set in a Magnus Dahlström world.
Magnus Dahlström has no doubt been the object of heavy debate. He has provoked audiences with his plays and
novels where his characters are often cold and seemingly indifferent. What has been especially shocking could
perhaps be described as a total lack of a consciousness of their guilt.
Irrational and inexplicable violence also plays a central role in his work. But as Ingrid Elam, renowned Swedish
literary critic wrote: “Dahlström’s morality, which operates on a deeper level than the spoken messages, lies in
the fact that he never makes man despicable. Contempt is always a question of perspective; it is in the eye of the
beholder.” If we read Dahlström from this perspective, we discover that it is not violence that is the focal point, but
the indifference, passivity, and cynicism that feed violence. There is also a universal theme in “Bad Faith”, one of
loneliness, insecurity and the need of finding acceptance.
We believe that there is great international potential in this film. It’s a genre movie with a twist and we have met
enormous interest when we have presented the film, not least in the Berlinale co-production forum where we met
producers and distributors from all around Europe. Both Magnus Dahlström and Kristian Petri are also already known
in large parts of Europe for their previous work.
We have managed to put together a stellar team. Kristian Petri is a phenomenal director, great at breathing life into
characters. Sonja Richter and Jonas Karlsson are our absolute first choice and in our view the best actors of their
generation. DoP Hoyte Van Hoytema has a wonderful energy and Johan Söderberg in his dual role as editor and
composer adds an extra dimension to the film.

SYNOP SIS
Mona is new in town. She has just moved to Sweden from Denmark and tries to find her place in life through a new
job and a new apartment.
Simultaneously a brutal serial killer is at work. Newspapers and television are filled with speculations about the
murders. On her way home from work one day she stumbles into a chaos. A gathering has built up in the street; the
killer has just struck again. Mona looks into the victims eyes while he is agonising. Troubled and shocked she errs
around town for hours without aim. She is afraid but the event has also triggered something within her: the fear is
mixed with fascination and attraction…
She happens to meet a man, FRANK. He seems to understand her and over time, slowly and step-by step their
relationship develops. At the same time her fascination for the murderer grows. Although it scares her, she feels
attracted by darkness.
In a back-street she witnesses a brutal aggression. The cruel and frightening X discovers Mona and tells her to stop
staring – and then he disappears. But Mona has seen his eyes and is sure that X is the murderer. She contacts the
police, but as she is unable to produce a single evidence, the police rapidly discards her suspicions.
As the police is not interested, she decides to look for X on her own. She finds a clue which leads her to the next
murder scene. When the police discovers her there, their suspicions are directed towards her instead.
Simultaneously, the murderer contacts Mona. In sibylline, intimate phone calls he initiates a dialogue. Mona again
contacts the police, which still distrusts her story, but takes advantage of the situation to put her under surveillance.
Meanwhile, Frank tries to comfort her and Mona reluctantly opens up to him. He is considerate and kind, but also
sometimes distant and a bit strange. After a while it dawns on us that Frank is in fact the murderer. But Mona
does not suspect anything, on the contrary, her feelings for Frank grow and finally they both unite and make love
passionately and soothingly.
The next morning Frank reacts with panic against their sudden intimacy and breaks up with Mona, alleging that she
only cares for X. Mona, who once again is alone, feels that she has to prove that X is involved in the murders, both
in order to show that she is not mad and to have a chance to get back to Frank.
Mona finally finds X and in a dramatic crescendo, where she almost becomes a victim herself, she finally succeeds
in brutally killing X. In total despair, she calls Frank who comes to her rescue. He calls the police but then returns
behind her back into the house and purposely leaves evidence behind pointing at X as the murderer. But Mona still
does not know who Frank is.
Freed from the police’s suspicion, Mona moves with Frank into a house. While unpacking the moving boxes, she
discovers Frank’s journal and finally understands that he is the serial killer. After a short hesitation she kisses him
and asks him to tell her everything.

DIRECTOR’S COMMENT
“Bad Faith” is a part of the nighttime of romanticism. A dark tale more than a realistic account. I want it to be
pleasant and gruesome, terrifying and beautiful. Fascinating and entertaining.
Imagine a story by Poe, a fateful mood, moonshine, the vapors of decay, a shining black sun. Picture a film in that
same spirit, yet also a film with all of the trappings of modern life. ”Bad Faith” rests within the traditions of filmmaking,
but gives the story an extra twist, a nuance we’ve had yet to witness. I want to create a film which gives
form to the shifting relationship between our waking lives and our dreams. I want to engross and frighten the
audience, to allow them to feel the same rush, ambivalence, uncertainty, and pleasure that they might feel from a
classical ghost story clad in a modern guise.
Hitchcock’s best films all have something in common. They all have something of the logic of dreams. Or better
said, nightmares. It is not always obvious who is the hunter and who is the quarry. Nor whether we find ourselves
in reality or fantasy. They take place within a diabolical daydream.
Referencing a film is hazardous, as every film is unique. But I’d nonetheless like to relate a few thoughts regarding
the reading, tone, and visual style of Bad Faith. Perhaps it still can help to provide an idea about the film’s course of
direction, towards what ends we are striving after. To read a manuscript is of course always to read raw material, a
sketch, a mere drawing of the completed film. So see these lines only as a brief introduction, the user’s manual to
a new device which you’ve just unpacked and are about to use for the first time.
Filmatically, “Bad Faith” ought to remind one of Polanski’s “Repulsion” or Tran Anh Hung’s “Cyclo”. An intimate
photo with long focal distances and blurry foregrounds. Void of intense editing. Preferably a well-conceived
cinematography in which the picture gradually becomes “properly” composed. A slight sense of voyeurism in the
pictures. The main character will often be seen through windows, through door-openings, from across the street,
behind the corner of a house, or a doorpost. As if she was being watched. A lot of tight pictures, although since
there usually will be a great deal of depth in the pictures it will only at times feel claustrophobic. Whole images will
be wide and graphic, like the still photographs of the German photographer Andreas Gursky. The dreamlike scenes
might be reminiscent of “Cyclo” or of a dreamlike unfolding in Takashi Miike’s “Audition”. The intent behind this
style is to create the impression that the observer is present, a participant in the film. In short, an intensified feeling
of presence.
I want “Bad Faith” to be a beautiful film. But not naively mainstream-beautiful. It needs to “chafe” a little, to soil a
bit so as to be experienced as more alive and energetic. A little of the realism that exists in the Bourne films. I’m not
referring to the tempo or clipping in those scenes, but rather just the sensation of realism.
Our main character, Mona, must also have a warmth which engages and creates an interest irregardless of the
tension, dialogue, or story. She must not be only cold, withdrawn, and “strange”. We have to care about how things
are going for her, to be worried when she goes alone to X’s house, etc. I think that Sonja Richter is perfect for the
role of Mona.

From the beginning, Mona is a fairly normal woman, albeit a bit lonely perhaps. She has moved to Sweden, and we
have the sense that she also has moved away from something.
When she stumbles upon the first murder, something is triggered in her. We suspect that the blood and violence
have drawn an untreated trauma back up to the surface.
At the same time she also meets Frank. She initially resists, but gradually her feelings grow and she sees Frank as
someone who could help her to understand her own feelings and who she really is. When Frank suddenly recoils,
frightened of intimacy, Mona finds herself alone all over again. Finding X and revealing his guilt becomes not only a
way to prove that she isn’t crazy but also a possible route back to Frank.
The psychologies in “Bad Faith” are neither simple nor obvious and perhaps not always easy for one to identify
with. At the same time it’s a classic dance of love. It’s about daring to reveal one’s true self, about doubting if one
deserves love and about allowing another into one’s life.
Simultaneously, it’s an exciting, sometimes straight-up scary film. But it’s not the intrigue as to who the killer is
which carries the story. The viewer rather quickly comes to suspect that Frank is the killer, although they gradually
begin to have doubts, suspecting Mona or Stenbeck. The weight of the story is instead carried partially by the
relationship between Mona and Frank and partly by how Mona will react if or when she discovers that Frank is the
murderer.
There is a dark gravity of attraction in Magnus Dahlström’s stories. Something nearly destined. Something both
classical and contemporary. Along with Norén and Stig Larsson, he writes the best dialogues in Sweden.
The tone in Magnus Dahlström’s manuscripts is special, unique. The underlying layers in seemingly simple
situations, the dark undertow, the mystique, the tension… I have of course previously directed “The Crack” by
Dahlström. At that time I experienced how the actors were filled by his musical dialogue. With Magnus Dahlström
one finds something razor-sharp, clinical. Extremely potent. I believe that the visual path we ought to take in order
to balance out this should be down-to-earth. Solid and realistic, but at the same time without losing the poetry, the
unexpected visual vista. In Nagisha Oshima’s film “Death By Hanging” there is a scene where the main character
observes a black cat as mysterious and mystical, yet material. Or in Robert Bresson’s “Blood Money” there is a
scene in which a woman gets struck in a backyard. We never see the strike. Only the cup of warm coffee which
she is holding in her outstreched hands. The warm coffee runs through her fingers after the powerful blow. We
need to create this type of visual narrative and exquisite details in “Bad Faith”. The glove compartment in the car
is a poignant example. It’s just a glove compartment in a car. Yet at the same time so much more. The entirety of a
person choice of paths. To say this without being overly overt.
Kristian Petri

FOTOGRAF STEFAN KULLÄNGER KLIPPNING LASSE SUMMANEN SCENOGRAFI & KOSTYM CHARLES KOROLY MUSIK TWICE A MAN PRODUCENT CHRISTER NILSON
MANUS KRISTIAN PETRI & STIG LARSSON REGI KRISTIAN PETRI
EN SAMPRODUKTION MELLAN GÖTAFILM CHARON FILM AB EMPE FILM AB FILM OG LYD PRODUKTION FILMTEKNIK FILMHUSATELJÉERNA AB TRIANGELFILM
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regi Kristian Petri regiassistent Erik Eger Christensson intervjuer Kristian Petri och Tom Källene berättartext Kristian Petri regikonsult berättartext Stig Larsson foto Jan Röed
ljud Per Forsgren klippning Jesper Osmund musik Johan Söderberg och David Österberg medverkande Manolo Angustia, David Gutierrez, William ”Bill” Law, Carlos Gortari,
Rafael Espejo, Noel Chandler, Doña Pilar m fl producent Per Forsgren exekutiv producent Kristian Petri
ORIGINALTITEL BRUNNEN SPELTID 1 TIM 47 MIN GENRE DOKUMENTÄR SPRÅK SVENSKA, ENGELSKA TEXT
1.78:1 16:9 ANAMORPHIC
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R Ä T T I G H E T E R N A T I L L D E T T A P R O G R A M T I L L H Ö R F O L K E T S B I O . P R O G R A M I N N E H Å L L E T S K Y D D A S E N L I G T U P P H O V S R Ä T T S L A G E N .
D E N N A D V D - F I L M Ä R E N D A S T AV S E D D F Ö R P R I VAT B R U K . A L L A N N A N V I S N I N G O C H V I D A R E S P R I D N I N G Ä R F Ö R B J U D E N . V E R K E T F Å R
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DIRECTOR
K RISTIAN PE TRI
Director and writer, Kristian Petri has directed several award winning documentaries
and features. He has also published a number of books.
Petri’s two shorts, “Once Upon a Time” and “The Crack” were selected for the Semaine
de la Critique competition in Cannes in 1991 and 1992 respectively. ”The Crack” is
written by Magnus Dahlström.
“Between Summers”, Kristian Petri’s first feature, was selected for the prestigious
Quinzaine des Realisateurs in Cannes in 1995 and awarded at a number of other
international festivals. In 2003 Petri directed ”Details” based on Lars Noréns text.
”Details” was nominated to five Swedish Film Academy (Guldbagge)-awards and
invited to numerous festivals around the world.
FILMOGR A PH Y, SELECTION
Director, features
Details (2003)
Winner of a Guldbagge for Best Male lead, Jonas Karlsson
Winner Best Actress, Cinéma Tout Ecran, Switzerland
Nominated to a Guldbagge for Best Director, Best Script,
Best Female Lead and Best Photo
Invited to more than 20 festivals aorund the world
gunilla röör
guldbaggevinnare
samuel fröler
Between Summers (1995) Quinzaine des Réalisateurs, Cannes Film Festival
The Crack (1992)
Once Upon a Time (1991)
Director, Documentaries
The Well (2005)
Tokyo Noise (2002)
Winner of a Guldbagge for Best Female Lead, Gunilla Röör
Nominated to a Guldbagge for Best Director, Best Script
Historien börjar på sommaren. Torun semestrar med sina
and Best Photo
och sig själva.
Semaine Internationale de la Critique, Cannes Film Festival
Audio: (*2.0) Svenska
För hörselskadade: Svenska
Rek. från 11 år SPELTID CA 108 MIN Färg
Semaine Internationale de la Critique, Cannes Film Festival.
DRAMA
handling.” – Dagens Nyheter, Johan Croneman
Nominated to a Guldbagge for Best Documentary
Toronto International Film Festival
Seattle International Film Festival
Locarno Internation Filmfestival
aldrig avslutade projekt
som har sin upprinnelse i
Spanien, inte minst filmatiseringen
av Don Winner of a Guldbagge for Best Achievement,
Quijote.
Johan Söderberg (music)
två söner och sin syster vid den danska Atlantkusten. En
varm och solig dag inträffar katastrofen; en av sönerna
drunknar medan Torun ligger och vilar på pensionatet.
Berättelsen fortsätter under ett år, ett år av upplösning,
självrannsakan och omvärdering. Toruns äktenskap med
Mikael utsätts för stora prövningar och relationen till
systern brister. Cirkeln sluts ett år senare. Familjen är
återförenad, dock med nya och andra perspektiv på livet
Brunnen är en film om
Orson Welles i form av ett
slags road-movie genom
Spanien. Det är inte en
biografisk film om hans
karriär inom film och
teater, utan en film om
en mindre känd sida av
Welles. Det handlar om
hans förhållande till Spanien,
ett land han ständigt
hittade anledningar att
återkomma till. Det finns
en räcka av påbörjade,
Orson Welles är begravd
i Ronda, Andalusien, i en
brunn på bakgården till
den legendariska matadoren
Antonio Ordoñez finca.
Valet av begravningsplats
säger självklart något om
personen.
”Oerhört välspelad.”
Nyhetsmorgon, TV 4
”Gunilla Röör och
Samuel Fröler
är storartade.”
Expressen
SPRÅK:
2.0 Dolby Digital
7 321939 667540
”Det är vackert och personligt, fyllt av känslor och
rörelse... det är färger och former och osviklig skönhet
och rytm, som hela tiden korresponderar med text och
”Petri’s intimate and very personal film is a beautiful
portrait of the enigma of this cinematic giant.” – Piers Handling
OFFICIAL SELECTION
TORONTO INTERNATIONAL
FILM FESTIVAL
OFFICIAL SELECTION
LOCARNO INTERNATIONAL
FILM FESTIVAL
OFFICIAL SELECTION
AMSTERDAM INTERNATIONAL
FILM FESTIVAL
OFFICIAL SELECTION
SEATTLE INTERNATIONAL
FILM FESTIVAL
Kristian Petri är författare, journalist och filmare. Han
har bland annat varit medregissör till dokumentärfilmerna
Atlanten och Fyren och långfilmsdebuterade
1995 med den kritikerrosade filmen Sommaren. Petris
senaste spelfilm är Detaljer från 2004.
GULDBAGGENOMINERAD
BÄSTA DOKUMENTÄRFILM
2006
en film av
kristian petri
”storartat!”
Dagens Nyheter
CANNES 1995
The Atlantic (1995)
Winner of a Guldbagge for Best Photo, Jan Röed.
Winner of the Nordic Film Prize, Gothenburg International
Film Festival

WRITER
M AGNUS DA HL STRÖM
In 1987 Magnus Dahlström published his first novel ”Lighthouse” which was unanimously
praised by critics. With this novel Magnus Dahlström became one of the biggest name on
the new literary landscape in Scandinavia and was compared to giants like Stig Larsson
and Lars Norén. Since then he has published three novels, a large number of short stories
and a dozen stage plays. In 1992 Kristian Petri directed ”The Crack”, a short film based on
a script by Magnus Dahlström which was selected for Semaine de la Critique in Cannes.
”Bad Faith” is his first feature script written for the screen.
Dahlström has a unique tone of voice that echoes through all of his work. His stories often have a violent theme and
his tone is strict and sharp, cold and very dense. His world is a dark one and has a heightened reality; recognizable
but weird and frightening at the same time.
His work has reached critical acclaim but has also been controversial and been the object of heavy debate. But as
literary critic Ingrid Elam once wrote:
“Dahlström!s morality, which operates on a deeper level than the spoken messages, lies in the fact that he never
makes man despicable. Contempt is always a question of perspective; it is in the eye of the beholder.”
Dahlström has been awarded the literary prize of Scandinavias largest daily Aftonbladet as well as the literary prize
of public service broadcaster Swedish Radio. Much of his work has been translated into English, German and
French as well as all the Nordic languages. His plays have been staged in France, Germany, Denmark and Norway.
BIBLIOGR A PH Y, SELECTION
Novels
Home (1997)
Winner of Göteborgs Postens literary award
Delivery (1993)
Lighthouse (1987)
Winner of Aftonbladets Cultural Award
Stage plays
Tourists (2007)
The Steel Mill (1996)
Lily (1990)
By Burning Iron (1989)

ACTOR
SON JA RICHTER
Born in 1974 she graduated from Odense’s Theatre Acting School in Denmark in 1999.
Her breakthrough came in 2002 with the film “Open Hearts” (Elsker Dig For Evigt) by
Susanne Bier which was very successful both in Denmark and internationally and toured
festivals all over the world. She has been nominated to four Bodil awards and three
Robert awards. In 2004 she was chosen as one of European Films ”Shooting Stars”.
FILMOGR A PH Y, SELECTION
Actor, features
Theory and Practice (2010)
In post-production
The Woman That Dreamed
About a Man (2010)
The Fugitive (2008)
What No One Knows (2008) Invited to Panorama Special at Berlin International Film
Festival
Cecilie (2007)
The Substitute (2007)
Little Lise (2005)
Open Hearts (2002)
Nominated to Bodil award for Best Actress
Nominated to five Robert awards
Winner of L’Écan Fantastique at Fant-Asia Film Festival
Nominated to two Bodil awards
Nominated to ten Robert awards
Winner Best Short, Robert Festival
Won International Critics Award in Toronto
Nominated to Golden Seashell Award, San Sebastian
Won Press Award, Rouen International Film Festival
Nominated to the Nordic Councils Film Award
Nominated to 6 Bodil awards and 10 Robert awards

ACTOR
JON A S K A RL SSON
Born in 1971 Jonas Karlsson is the biggest Swedish actor of his generation. With his
work he has reached both public and critical acclaim and have starred in everything from
children’s films to large scale drama productions. In 2003 he won a Guldbagge Award for
Best Male Actor for his role in Kristian Petri’s ”Details”.
FILMOGR A PH Y, SELECTION
Actor, features
To Love Someone (2007)
The Last Dog
in Rwanda (2006)
Offside (2006)
Storm (2006)
Bang Bang
Orangutang (2005)
Invited to Toronto, Cleveland, Vancouver, Hamburg, Seoul
and more
Winner, International Short Film Festival, Palm Springs
Invited to Berlin, San Fransisco, Tribeca, Los Angeles,
Seoul, Dresden and 20+ festivals
Nominated to Guldbagge Award for Best Actor
Sold for theatrical and tv-release to a number of countries
Won the audience award at Stockholm International Film
Festival
Nominated to Guldbagge Award for Best Film,
Won Guldbagge for Best Photo
Nominated to Guldbagge and Bodil awards
Invited to San Sebastian International Film Festival and
more
Kim Novak Never Swam
in Genesatet’s Lake (2005) Invited to Haugesund International Film Festival
Lübeck International Film Festival and more

CINEMATOGR APHER
HOY TE VA N HOY TEM A (ncf/fsf)
Born in Holland in 1971, Hoyte van Hoytema studied in Amsterdam and Warsaw where
he learned the classical Eastern-European style of film photography. In recent years he
has shot films like ”Let the right one in”, which has had huge international success even
before its theatrical release in Sweden, and TV-series like ”Lasermannen” and ”Upp
till kamp”. Hoyte is a passionate and engaged cinematographer in the true meaning of
the word. His style of photography could be described as organic and emotional but
what really is significant for his work is that story always come before technique. He is a
member of both the Dutch and Swedish societys of Cinematographers, NSC and FSF.
FILMOGR A PH Y, SELECTION
Cinematographer
The Fighter (2010)
In post-production
Let The Right One In (2008) Winner Tribeca Film Festival
Winner Best Photo, Gothenburg International Film Festival
Invited to Vienna, Rotterdam Sao Paolo, Sitges, Edinburgh,
Warsaw, Seattle and many more
Upp till kamp (2007)
A Fathers Music (2007)
Lasermannen (1991)
Chlorox, Ammonia
and Coffee (2004)
Winner Prix Italia
Winner Best Drama Series, Festival International de
Programmes Audiovisuels, France
Winner Silver Horn, Cracow Film Festival
Nominated, Max Ophüls Festival
Winner, Best TV Drama, Kristallen
Winner Best Film, Mannheimer-Heidelberg International
Film Festival

ORIGINALTITEL TOKYO NOISE SPELTID 1 TIM 20 MIN GENRE DOKUMENTÄR SPRÅK JAPANSKA TEXT
1.78:1 16:9 ANAMORPHIC
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D E N N A D V D - F I L M Ä R E N D A S T AV S E D D F Ö R P R I VAT B R U K . A L L A N N A N V I S N I N G O C H V I D A R E S P R I D N I N G Ä R F Ö R B J U D E N . V E R K E T F Å R
EJ KOPIERAS. SV ENSK D ISTRIBUTION: FOLK ETS BIO / PAN VISION PUBLISHING AB, W W W.PANVISION.COM. ANSVARIG UTGIVARE: ROBERT LÖFGREN.
© 2001 CHARON FILM AB, MANDEN MED KAMERAET, CRYSTAL EYE. ALL RIGHTS RESERVED. © 2008 FOLKETS BIO. ALL RIGHTS RESERVED. WWW.FOLKETSBIO.SE
CINED8394
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EDITOR /COMPOSER
JOH A N SÖDERBERG
Johan Söderberg is a Swedish film director/editor/composer. He was part of the now
terminated Swedish multimedia collective Lucky People Center. Söderberg is recognized
for his innovative editing and composing and has worked with everything from music
videos, commercials, documentaries and feature films. He was awarded a Guldbagge
for the music in ”Tokyo Noise”, a documentary co-directed with Kristian Petri in 2003.
In 1999 he won a Certificate of Merit at the San Fransisco International Film Festival for
”Lucky People Center”. In 2006 he co-directed and edited the documentary ”The Planet”
which has since been invited to more than 30 festivals and sold for tv and theatrical
release to numerous countries.
FILMOGR A PH Y, SELECTION
Editor/Composer
Downloading Nancy (2008) Nominated to Grand Jury Prize, Sundance Film Festival
The Planet (2006)
I’m Going to Tell
You a Secret (2006)
Details (2003)
The Well (2005)
Tokyo Noise (2002)
Invited to more than 30 film festivals around the world
Nominated to a Grammy for Best Long Form Music Video
Winner of a Guldbagge for Best Male lead, Jonas Karlsson
Nominated to a Guldbagge for Best Director, Best Script,
Best Female Lead and Best Photo
Nominated to a Guldbagge for Best Documentary
Invited to Toronto International Film Festival and many
others
Winner of a Guldbagge for Best Achievement (Music)
Lucky People Center (1998) Winner of Certificate of Merit at the San Fransisco
International Film Festival
TOKYO NOISE är ett rytmiskt och färgstarkt stadsporträtt som rör sig mellan kärnan i
den moderna 26-miljonersstadens intensiva puls och stillheten vid berget Fuji, som klarar
dagar ännu kan ses från huvudstaden. Filmen är en upptäcksresa genom en av världens
stösta städer och ett möte med ett antal individer som försöker tolka stadens kaos på
ett personligt sätt. Vi får möta fotograferna Araki och Kyoichi Tsuzuki, Fujifotografen
Rocky Tanaka, Shinto-prästen Mr. Watanabe, spelkonstruktören Haruhiko Shono, ljudkonstnärinnan
Mayuko Hino och andra noisemusiker, technostressdoktorn Dr. Sumioka,
vetenskapsmannen inom artifi ciell intelligens Dr. Kitano, karaoke afi cionados samt författaren
Ryu Murakami.
”Enormt snygg, fantastiskt klippt,
otroligt snyggt foto… DET HÄR ÄR VÄLDIGT BRA!”
Hans Wiklund, Bionytt TV 4
”EN STORSTADSSYMFONI FÖR CYBERÅLDERN.”
Thomas Rotshild, Frankfurter Allgemeine Zeitung
GULDBAGGEBELÖNAD!
Bästa musik – Johan Söderberg
REGI KRISTIAN PETRI JAN RÖED JOHAN SÖDERBERG FOTO JAN RÖED LUCIA KANGUR-RÖED ILPPO POHJOLA STILLBILDSFOTO LUCIA KANGUR-RÖED KLIPPNING JOHAN SÖDERBERG
LJUD PER FORSGREN ERIK PAUSER LJUDMIX PETER NORDSTRÖM SES-SOUND LJUDBEARBETNING RAGNAR SAMUELSSON VERA NIKITINA
MUSIK JOHAN SÖDERBERG ZBIGNIEW KARKOWSKI INTERVJUER KRISTIAN PETRI PRODUCENT PER FORSGREN EXEKUTIV PRODUCENT JAN RÖED

PUBLIC REL ATIONS IN TORONTO
Lucius Barre
+1-917-353-2268
E-mail: lucius@rcn.com
ST PAUL FILM IN TORONTO
Production Company
Johannes Åhlund, Producer
+46 70 715 82 06
E-mail: johannes@stpaul.se
Mattias Nohrborg, Executive Producer, Senior Adviser
+46 734 17 65 51
E-mail: mattias.nohrborg@stpaul.se
FE STIVA L CONTACT
Swedish Film Institute
Website: www.sfi.se
E-mail: pia.lundberg@sfi.se
Address: Box 27126, 102 52 Stockholm, Sweden
Phone: +46 8 665 11 39
WORLD SALE S
Trust Nordisk
Website: www.trustnordisk.com
E-mail: info@trustnordisk.com
Address: Filmbyen 12, 2650 Hvidovre, Denmark
Phone: +45 3686 8788