Isabelle Grill

Several friends travel to Sweden to study as anthropologists a summer festival that is held every ninety years in the remote hometown of one of them. What begins as a dream vacation in a place where the sun never sets, gradually turns into a dark nightmare as the mysterious inhabitants invite them to participate in their disturbing festive activities.

In the small community of Åmotfors in Värmland, Olof lives a quiet life as a beekeeper after losing his partner many years ago. All that remains is his teenage daughter Lise, who increasingly seeks to escape the confines of home. Olof struggles to reach her, and grief has long lain buried in silence—until he suddenly falls ill and is forced to confront all that has remained unspoken. With great sensitivity, Marcus Carlsson portrays the different stages of life and reminds us how the fragility between people can hold both pain and light.

A priest gains popularity after his wife miraculously survives a deadly illness. But when the authenticity of the miracle is questioned, he has to prove it was God's power that saved her, which plunges him into the depths of the occult.

A strange illness spreads among the participants of an illegal rave.

Homeless women live off salvaging food from the dumpster of a discount grocery store. Meanwhile, the store's employees struggle under hardening working conditions. Complex relationships, conflicts and dependencies arise between the groups.

Two weeks before the graduation exhibition at the art school, the new principal Jack von Rosen (Magnus Krepper) takes office. During his presentation, he presents business-oriented ideas and it turns out that he secretly represents an ancient society that wants to commercialize art. Meanwhile, one of the students, Irma (Isabelle Grill/Hilda Krepper), is commissioned by God to create the perfect work of art and thereby becomes a target for Jack and his company. The debuting directors from the collective KonstAB, however, do not let Irma stand alone in the fight, but give her support from the school’s two lecturers and not least a Danish Dadaist.

Several people with amnesia realize they may have been involved in something sinister on a cosmic scale.

A male director is making a film about the annoying, dominant whiteness of cultural space. But what words do they really use? When two of the women in the team question how they figure themselves, they need a break.