mcongedi

Maybe it's because I'm a heterosexual male that I have struggled to warm to same-sex films, even though I have seen a few, but I was particularly impressed by this one.

Lena is the younger sister of Jonas who has a girlfriend Eva. Lena is quiet, introverted, inexperienced in love. Eva is emotionally insecure, after years of living with a mother who frequently changed partners. One day Eva kisses Lena and the two girls are shocked and surprised.

There are several outstanding qualities about the film. Firstly, its script is well-written, plotting the emotional journey of the two women, through initial surprise, uncertainty about their own feelings, whether what they did was right, uncertainty about the other's feelings.

Secondly, director Daniel Manns handles the film with the right pace. The story unfolds at a pace that allows the viewer to ponder what the women might feel without rushing into each stage. Brief musical interludes help with the film's rhythm.

Thirdly, all the characters are quite-well rounded. Even, the males, Jonas and Papa, are shown to have hidden emotional depths behind their sometimes (insensitive) humour. The women's characters are well-fleshed out.

And finally, one must mention Linn Reusse, who plays Lena. Her face is rich with conflicting emotions, the sign of a gifted actress.

At time of writing (2025), Manns has not directed another film, possibly the vagaries of low-budget filmmaking. What a pity, because he certainly is gifted.

It is great to see a well-made low-budget film. While many millions are spent making inane films, it's great to see that there are still people who can make a great film on a shoe-string budget.

Stories about Jews hiding during wartime are plentiful and this is another one in that category.

What distinguishes this film from most is that the outcome of the story is not obvious. The plot throws up little surprises every now and then and that keeps the viewer interested.

Piccioni is a fine director who has made some outstanding humanist films: "Fuori dal Mondo" (1999) and "Luce dei miei occhi" (2001). This film is not quite on the same quality level as the two mentioned but is in line with his interest in human nature.

The evocation of period (Italy at the outbreak of WWII) is pretty good and the characterisations are reasonable. The plot does not exaggerate the plight of Jews in Italy, which was nothing like their counterparts in Germany.

The film could have done with better cinematography however it is a worthy effort.

Bertha (Pauline Brunius, wife of the director) who gave up her son for adoption when unmarried many years before is now married to wealthy Richard Brenner (Tore Svennberg) and now has a grown daughter called Alice (Renee Bjorling). Her first child is a secret she hides from her husband and daughter. One day she encounters an injured young man (Paul Seelig) who's identification paper matches that of her son. She offers him help, while keeping her secret, but she becomes alarmed when her daughter Alice is attracted to her son, half-siblings falling in love with each other!

Although based on a play, director John Brunius does a great job in opening out the play to good effect. The acting is restrained, typical of the Scandinavian style that has done so well for generations. The scenes are acted out with a measured pace, allowing the emotions to be played out and allowing the audience to "step in each character's shoes".

Particular mention should be made of Paul Seelig as the son. His thoughtful pauses at particular moments (e.g., when he finds a lost purse, or when he looks puzzled at the behaviour of this older woman), really convey his thoughts to the audience.

A fine effort within the confines of a melodrama.