Since the artistic concerns are overpassing the commercial expectations, the Swedish cinema has often criticized as being so complicated and dense, yet it more often offers visual festivals that we are all amazed. Even if the country is one of the smallest nations in the world, many scientists, doctors, actors, directors and leaders inspired from what the country offers with its diversity and deep and wide understanding. I have stumpled upon one of these outstanding people who enriched our perspective and widened our world with his/her camera and artistic point of views. Please meet with Ruben Östlund!
Swedish director Ruben Östlund has made his name with Force Majeure, a black comedy-style film that went into two years ago. Ruben Östlund is preparing to film a new black comedy, following a comedy film which tells the story of a happy family out on a ski vacation to meet the danger of an avalanche. The subject of The Square, which will be shot with the support of the Swedish Film Institute, is quite interesting. In another article about the movie, a representative of the crew summarizes the movie with a few words: “It’s related to a city square. An area of 10 square meters in the middle of the square is free to do anything. There are no rules, only ethical values. People can use this area to do good or to ask for help. The film will process the people in this area. “
Ruben Östlund, who has been known for his films and has had many successes with his latest film Force Majeure, has already aroused great interest in the cinema industry. Östlund’s new film, The Square, is also creating a difference, as he chooses to tell his own stories in his films instead of making Hollywood-style films.
The first screening of the Cannes Film Festival is going to be one of the best examples of 21st century Swedish cinema. The film, which has a lot of successful names and excites both moviegoers and art lovers, is one of the best independent films of 2017.
After mentioning Östlund’s new film, it will be helpful to talk about how different the Swedish cinema actually is. Unlike the general and boring trends, Swedish filmmakers and directors see a different world from the camera lens, with inspiration from both their own country and nature. This unique talent not only belongs to Östlund. Mai Zetterling, Ingmar Bergman, Roy Anderson, Malik Bendjelloul, Vilgot Sjöman, Jan Troell and Lukas Moodysson can be listed as several different names in Swedish cinema.
In the first days of 2017, if there is only one advice to give, I would ask blog readers to watch the Östlund’s latest film as soon as possible and take a look at the works of the indispensable directors of the Swedish cinema.