Fia-Stina Sandlund, She's Blonde Like Me , 2011 91 MIN, HD

Tempo 2011

11.3 2011


This year’s film program at Moderna focuses on theatre, performance art and acting and dramatic events at various venues. In Fia-Stina Sandlund’s film a medium represents the most mind blowing element, while in Maria Zennström’s and Tova Mozard’s cases there are personal flashbacks to the family patterns that form the basis of those films’ sublimely powerful appropriations.

Some of the films have a direct political tone; Jesper Nordahl in his film about the Russian pop duo t.A.T.u., wants to examine those artists’ political action on stage and if it has had any impact, but finds instead chauvinistic power structures. Ewa Einhorn has interviewed people on the street in Moscow on what they think about feminism. Director Aliona Polunina shows in her epic documentary a father and son, who are both members of an illegal revolutionary organization and Pål Hollender tells of his own experience from war zones in Afghanistan.


10.15 Introduction by Carin Lundqvist

She's Blonde Like Me av FIA-STINA SANDLUND

10.25-11.55 She’s Blonde Like Me

The artist Fia-Stina Sandlund and actress Alexandra Dahlstrom meet at Stockholm airport one day in June. Three days later, they are to do a performance at the Venice Biennale in the form of an interview. Alexandra, in the role of Julie, is to answer questions about Fia-Stina Sandlund’s feature project, “She’s Wild Again Tonight” – which is a contemporary interpretation of August Strindberg’s famous play, Miss Julie. For three days, all the preparatory work for the interview is filmed. It turns out that Alexandra, like Fia-Stina, has many similarities to the character they are trying to create – they have both felt stigmatized in the role as radical feminists. Alexandra as the rebellious teenage girl from Lukas Moodysson’s film “Show Me Love”, Fia-Stina as the artist who made a coup against the Miss Sweden contest in live television in 2001. At the date of the performance expectations peak. But – suddenly there is a disaster that makes the performance take an unexpected direction.

Leningrads sista dagar

12-12.30 WORK-IN-PROGRESS The Last Days of Leningrad
MARIA ZENNSTRÖM, SVERIGE, 2011, 29 MIN, 35 mm transferred to DVD. Sweden premiere!

Maria Zennström knew that her relatives’ days – in the preserved shape she loved – were numbered. Therefore, she recorded a material of the most beautiful people she had ever seen, the impoverished intelligentsia of Leningrad in the late eighties.

The film was shot in a small cramped apartment in a city that was called Leningrad in 1989. She needed a story and took her own family history; she needed a storyteller and recorded her own words. Now many years later the people, city and country where the film was shot are all gone. Her film is a time capsule.

Tova Mozard, Stora scenen

12.30-13 The Big Scene

The film’s director Tova Mozard puts herself, her mother and grandmother on the scene of the Royal Dramatic Theatre. A therapy-like staging presents stories about what is accidental and unavoidable, what is transferred across generations, between mother and daughter.

The t.A.T.u Project

13.30-14.30 The t.A.T.u Project
JESPER NORDAHL, SWEDEN, 2009, 56 MIN, Mini-DV. Stockholm premiere!

By looking at t.A.T.u., the most successful Russian pop duo of all time, the video The t.A.T.u. project looks into the possibilities of visual art and popular culture (with the focus on video/film and performance) to effect social change. The video investigates the social and political significance of t.A.T.u., and focuses on the singers Lena Katina and Yulia Volkova, and their former international promoter Martin Martan.


14.35-14.45 Moscow.street.11
Ewa Einhorn/Terese Mörnvik 2011, WORK-IN-PROGRESS, in collaboration with Nadya Plungyan and Jesper Nordahl. Sweden premier!

What is feminism? A mental illness? The cause of the mammoth’s extinction? Or is it something completely normal? Follow Nadya Plungyan-a feminist activist in contemporary Moscow and find out the answers. 2003, Ewa Einhorn, along with Terese Mörnvik, conducted a similar survey on the streets of Warsaw. Here’s the follow-up on the street of the Russian capital.

The Revolution that wasn't

14.45-16.25 The Revolution that wasn’t
ALIONA POLUNINA, ESTONIA, FINLAND, 2008, 96 MIN, Digibeta. Sweden premiere!

In Russia 2007, the opposition to Putin’s regime is gathering forces for the next presidential elections due in exactly one year. The Film follows a father and his son in the National Bolshevik.

Party: a drama of crime and punishment played out backstage behind political slogans. A disturbing study of the “Other Russia” movement.

Pål Hollenders Finding Ali

16.25-17.50 Finding Ali

Filmmaker Pål Hollender travels throughout Afghanistan in search of Ali Sajjad, a bright kid he met in Kabul nearly 10 years ago. Will Ali still be as open-hearted and hopeful as he was when he was nine years old? Is he still alive?

With breathtaking material Finding Ali unveils the occupation of Afghanistan, the logical development of mistrust, disappointment and rage from ordinary Afghans against the U.S.A. and the NATO. They were promised peace and development, but were given a brutal “War against Terror”.

Being welcomed with open arms a decade ago, the filmmaker now experiences an overwhelming feeling of rejection, painfully culminating in a road-side attempt on his life.

18-19 Discussion: When reality turns into fiction.
Bar. Please notice! Main entrance closes at 6 PM, thereafter the door towards the seaside is open.