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GÖTEBORG 2022

El Festival de Göteborg desvela el programa de su edición híbrida de diez días

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- El certamen sueco, que tendrá lugar entre el 28 de enero y el 6 de febrero, será presencial, digital, y a veces, hipnótico

El Festival de Göteborg desvela el programa de su edición híbrida de diez días
So Damn Easy Going, de Christoffer Sandler

Este artículo está disponible en inglés.

With its team having spent days in preparations, not least concerning the different pandemic-related scenarios, the Göteborg Film Festival is now ready to kick off its 45th edition in a hybrid form of physical and digital events. “Last year’s completely digital edition became a unique audience success, with over 400,000 visits,” notes artistic director Jonas Holmberg, who gained a creative concept in the process. “It showed us how great the interest in festival films really is all over the country. We want to continue to explore this practice. We think it will benefit both audience and filmmakers, even though it does challenge some traditional ways of industry thinking.” The ten-day event runs from 28 January-6 February, with 200 films from 80 countries set to be screened. Of these, about 50 titles will be available in the digital “salon” for Swedish viewers, with three to four online premieres per day, playing in parallel with theatre screenings for 24 hours. For physical visitors, safety routines and vaccination checks together with updated guidelines and regulations issued by the Swedish authorities must be adhered to.

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Opening the festival is Sweden’s So Damn Easy Going (see the news), the feature debut by Christoffer Sandler, a coming-of-age tale about the vagaries of ADHD and young love, and one of the 50 world premieres on the agenda this year. Sandler’s film is also one of the eight contenders for the 400,000 SEK Dragon Award in the Nordic Competition, together with Denmark’s As in Heaven [+lee también:
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entrevista: Tea Lindeburg
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by Tea Lindeburg, Finland’s Heartbeast by Aino Suni, Sweden’s Maya Nilo (Laura) by Lovisa Sirén and Sweden’s Excess Will Save Us [+lee también:
crítica
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entrevista: Morgane Dziurla-Petit
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by Morgane Dziurla-Petit, all debut fiction features. Added competition comes from three Cannes favourites: Finland’s Compartment No. 6 [+lee también:
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entrevista: Juho Kuosmanen
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by Juho Kuosmanen, Iceland’s Lamb [+lee también:
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entrevista: Valdimar Jóhannsson
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by Valdimar Jóhannsson and Norway’s The Innocents [+lee también:
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entrevista: Eskil Vogt
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by Eskil Vogt.

The other major competitions, the Nordic Documentary Competition and the Ingmar Bergman Competition, “for debut features of a dynamic or experimental nature”, will sport eight entries each, with the International Competition consisting of ten contenders. Career awards will be received by Italian director Luca Guadagnino (Honorary Dragon Award) and Swedish actress Rebecca Ferguson (Nordic Honorary Dragon Award), and physical attendees include Bille August, Lucile Hadzihalilovic, Valdimar Jóhannsson, Juho Kuosmanen, Eskil Vogt and, it is expected, Sweden’s newly appointed Minister of Culture, Jeanette Gustafsdotter.

In the grand (sometimes guignol) tradition of some of the most innovative cinema gimmicks since the days of William Castle – one vividly remembers the gynaecological cinema chair, the sarcophagus and the lighthouse-for-one screenings of recent editions – the festival will this year bring in a hypnotist, ready and eager to mesmerise a full audience. Three titles – Shirin Neshat’s Land of Dreams [+lee también:
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, Apichatpong Weerasethakul’s Memoria [+lee también:
crítica
tráiler
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and Christian Tafdrup’s Speak No Evil [+lee también:
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entrevista: Christian Tafdrup
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– have been handpicked for the performance of this feat, an integral part of the special theme for 2022, “Focus: Disorder”. As the song continues: a splendid time is guaranteed for all.

The full programme can be found here.

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(Traducción del inglés)

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