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Roy Andersson’s “Songs from the Second Floor”

Contemplating the Art of Existence

By Ursula Lindqvist

Swedish filmmaker Roy Andersson’s celebrated and enigmatic film Songs from the Second Floor, his first feature film in twenty-five years, won the Special Jury Prize at the Cannes Film Festival in 2000. The “songs” of...

Thomas Vinterberg's Festen (The Celebration)

By C. Claire Thomson

Danish filmmaker Thomas Vinterberg's searing film Festen (“The Celebration”) was the first film from the Dogme 95 stable. Adhering to Dogme's cinematic purity — no artificial lighting, no superficial action, no credit for the director,...

Ingmar Bergman's The Silence

Pictures in the Typewriter, Writings on the Screen

By Maaret Koskinen

Ingmar Bergman's 1963 film The Silence was made at a point in his career when his stature as one of the great art-film directors allowed him to push beyond the boundaries of what was acceptable...

Dagur Kari's Noi the Albino

By Bjorn Nordfjord

Dagur Kari’s Noi the Albino (Noi albinoi, 2003) succeeded on the international festival circuit as a film that was both distinctively Icelandic and appealingly universal. Noi the Albino taps into perennial themes of escapism and...

Lukas Moodysson’s Show Me Love

By Anna Westerstahl Stenport

Lukas Moodysson is one of the most accomplished and unconventional filmmakers of his generation in Sweden. Moodysson, now well known for his English-language film Mammoth (2009) as well as his heartbreaking indictment of sex-trafficking in...

Lone Scherfig's Italian for Beginners

By Mette Hjort

Lone Scherfig was the first of a number of women directors to take up the challenge of Dogme, the back-to-basics, manifesto-based, rule-governed, and now globalized film initiative introduced by Danish filmmakers Lars von Trier and...