Late on Earth

The story is composed of fragments of lives lived in northern Scania. Some of them are mundane, while others border on the magical. But like shadows over the landscape, some protagonists are distinguished: Beata, a seasonal worker who comes to Sweden for the first time; Aaron, a young man with a broken heart returning to the place where he grew up, and Billie, a girl lost in her first summer vacation. As the film follows their lives, which slowly merge with the landscape.

Affected by the powerful images in the pamphlet Om kriget kommer (If war comes), farmhand Karl-Göran Persson begins fortifying his house. Through years of harvesting scrap-metal, he transforms the house into a fortress, meant to protect him and his neighbors when the enemy attacks. As the task progresses, reality and the threat of future destruction become intertwined, and construction becomes an obsession for the lonely Karl-Göran.

The mapping of a desolate house in southern Sweden encased in iron and cement, standing as a monument of one man's loneliness and paranoia.

Imagine: An alien has landed on a foreign planet, where life once existed. The alien moves around aimlessly through dark shifting nature, occasionally coming across a frozen figure, a human, poised in time and action, in a deserted wilderness where the sunlight is now out of reach. ALIEN TOURIST comes together as a conglomeration of fragments - of images, places, frozen moments and echoing sounds that present the viewer with a vision of our world, now gone.

In three long, uninterrupted one-takes shot over a single summer’s day and night, the camera moves slowly through the park while the guests alternately react to the lens or try to ignore it. A gang of Pierrot clones mingle with the visitors. The film is an joint creation between students of the Royal Danish Academy of Fine Arts and the Danish Film School, initiated independently by the students. Using Bakken as a frame - historically, architecturally and socially - all the contributors helped develop the concept for both the film and the performative interventions in front of the camera, which are sometimes inseparable from the hedonistic and condensed semi-fictional universe that an amusement park is.

A texting John Skoog (Ridge, GFF 2019) takes a poetic look at The Invisible Man and the last cinema screen that showed film in Denmark before lockdown.

A anti-ethnographic film that looks at the traditional folklore surrounding the celebration of Fasnet (carnival) in the small Schwabian town of Bad Buchau which is haunted by the violent story of a father drowning his family in the nearby lake, Federsee.