Past Events

Grotesque yet, deeply moving French body-horror.

"There’s no denying that Titane is the work of a demented visionary in full command of her wild mind; a shimmering aria of fire and metal that introduces itself as the psychopathic lovechild of David Cronenberg’s “Crash” and Shinya Tsukamoto’s “Tetsuo: The Iron Man” before shapeshifting into a modern fable about how badly people just need someone to take care of them and vice-versa." (IndieWire)

The Dovzhenko Centre traditionally shows on the big screen an anthology of the best short films by young Ukrainian directors. "Ukrainian New Wave" was launched by the Oleksandr Dovzhenko National Centre in 2012. Since then, it can rightfully be considered the foundation for a young generation of directors who have become the voices of contemporary Ukrainian cinema. It was "Ukrainian New Wave" that launched the careers of Iryna Tsilyk, Antonio Lukich, Dmytro Sukholytkyi-Sobchuk, Pavlo Ostrikov, Oleksiy Radynski, Zoya Laktionova, Mykyta Lyskov, and many others. This year's selection, titled "Ukrainian New Wave. We Are," includes eight works from 2023–2024 — a mix of fiction, documentary, animated, and experimental films.

From the Past (2023), dir. Hanna Palamarchuk The smell of borscht that the director's grandmother cooked one sunny day brings back memories of childhood. Though hazy, they appear and vanish in a flash, yet carry a certain nostalgia and calm — moments of summer and warmth she wants to keep forever.

I Died in Irpin (2024), dir. Anastasiia Falileieva On February 24, 2022, the director and her boyfriend left Kyiv for Irpin. They spent ten days in the besieged town and managed to leave with the last evacuation convoy. Time has passed, but she has never shaken the feeling that she died in Irpin. This animated film reconstructs a real survival story through a personal, subjective lens.

My Morning Routine (2024), dir. Vadym Adamov "I wake up, then meditate for an hour and drink a glass of lemon water"... Have you seen something like this on social media? The director decided to show his own daily routine — one he's forced to live by, and one that also helps him reach his goals. With one difference: he is a 19-year-old soldier in the Ukrainian army, fighting on one of the hottest front lines in the world.

Additional Scenes (2024), dir. Roman Khimei, Yarema Malashchuk On the 377th day of the Russian-Ukrainian war, a married couple in Kyiv starts arguing over pillows — which one is for sleeping and which is for beauty. But the real question is: why are we even making a film about the war?

Blueberry Summer (2024), dir. Masha Kondakova This summer, Ksiusha, along with her mother and sister, is forced to pick blueberries in a forest near Kyiv to earn money for the family. But she gets distracted waiting for her beloved Misha. Flirting, they wander deeper and deeper into the forest, unaware of the danger.

Hello, I'm on the Mountain (2023), dir. Liza Pyrozhkova In the ruined city of Izium, in the Kharkiv region, Kremianets Mountain becomes an "island of connection," where people catch a signal to talk to their loved ones after months of Russian occupation.

I'm Taking a Walk (2023), dir. Daria Zhuravel Daria Zhuravel's autobiographical story is dedicated to childhood and to those who are no longer with us but whose presence accompanies us wherever we go.

Plasticine Dreams (2023), dir. Vadym Makarov A polyphony of voices unfolds a discussion about home — the voices of those who lost theirs to the war. Associations, memories, meanings: three letters, hundreds of things in between — home.

This animated film follows elderly Frenchwoman Madame Souza as she becomes involved in international intrigue when her grandson, Champion, a professional cyclist, is kidnapped and taken abroad. Joined by her faithful dog, Bruno, Souza embarks on a journey to find Champion, and stumbles across unlikely allies in the form of three sisters who are veterans of the vaudeville stage. Tracking down Champion's criminal captors, the quartet of old women use their wits to try and win the day. "Triplettes is terrific…there's no competition for the fall's most imaginative delight. In that race, Triplettes can already take its victory lap." (TIME Magazine)

"There’s no denying that Titane is the work of a demented visionary in full command of her wild mind; a shimmering aria of fire and metal that introduces itself as the psychopathic lovechild of David Cronenberg’s “Crash” and Shinya Tsukamoto’s “Tetsuo: The Iron Man” before shapeshifting into a modern fable about how badly people just need someone to take care of them and vice-versa." (IndieWire)

From the director of Invasion of the Body Snatchers, Unbearable Lightness of Being - and starring Starring Uma Thurman, Fred Ward, Gary Oldman and Maria de Medeiros is HENRY AND JUNE. While traveling in Paris, author Henry Miller and his wife, June, meet Anais Nin, and sexual sparks fly.

Mexican acid Western film written, scored, directed by and starring Alejandro Jodorowsky. Characterized by its bizarre characters and occurrences, use of maimed and dwarf performers, and heavy doses of Judeo-Christian symbolism and Eastern philosophy, the film is about El Topo—a violent, black-clad gunfighter played by Jodorowsky—and his quest for enlightenment. (Description)

Jodorowsky's cult classic acid western "is peopled largely with corpses of men and animals and the survivors are gross, obscene caricatures who follow phony gospel-mongers and practice slavery. When El Topo (played by Jodorowsky) moves out of this world, he goes first to do battle with the Four Masters of the Desert (who have black-magic connotations probably inspired by the work of Aleister Crawley), and later to help free a colony of deformed and incestuously mutated cripples." Excerpted from Roger Ebert's review.

ANGELS IN SHADE Skeletal synth-pop inflicted with broken noise and decayed new-wave. Currently based in Gothenburg and debuting on Record Turnover with 'II', available on cd now. AZIZA Perhaps best known for her recent collaboration with renowned noise artist Sewer Election ’Cadavres Électroniques’, Aziza is a Gothenburg-based experimental musician. With a style that combines the unsettling atmosphere of dark ambient and the textured, elusive sounds of musique concrète, she utilizes everything from field recordings to synthesizers to guitar feedback to create droning, layered soundscapes that are as relaxing as they are unnerving. Record Turnover (DJ) Artwork by @bibi.00o Design by Record Turnover

CANNES FILM FESTIVAL 2025 Winner Un Certain Regard Jury Prize

An aging poet finds purpose mentoring a talented teen, though exposing her to the poetry scene might be unwise. His own poetic pursuits led nowhere, leaving him a stereotypical obscure writer.

Simultaneously satisfyingly tragic and hilarious. (Screen Daily)

A hilarious fable about trying to lead a creative life and failing miserably at making ends meet (Variety)

A standoff between a small-town sheriff (Joaquin Phoenix) and mayor (Pedro Pascal) sparks a powder keg as neighbor is pitted against neighbor in May of 2020 in Eddington, New Mexico. A provocative, era-defining thriller from Ari Aster (Hereditary).

Have you ever dreamt of a better version of yourself?

A fading celebrity decides to use a black market drug, a cell-replicating substance that temporarily creates a younger, better version of herself.

An evening of experimental music and visuals, featuring members of the Pixlar o Ljud community - artists and musicians using programming and technology as a creative tool.Musikcentrum Syds text: “ This is a chance for musicians (and visual artists) to meet with visual artists. To get inspired but also find opportunities for future artistic collaborations.”Lineup Paul Graham Raven + Eblo The New Uncanny + Melisa Hümmet Marc Biemer + Triangular Waves Lugix Vainamo + STRÖM s8jfou

An English professor, one year after the sudden death of his boyfriend, is unable to cope with his typical days in 1960s Los Angeles.
(IMDB)

Paterson (Adam Driver) is a bus driver in the city of Paterson, New Jersey - they share the name. Every day, Paterson adheres to a simple routine: he drives his daily route, observing the city as it drifts across his windshield and overhearing fragments of conversation swirling around him; he writes poetry into a notebook; he walks his dog; he stops in a bar and drinks exactly one beer. He goes home to his wife, Laura (Golshifteh Farahani). By contrast, Laura's world is ever changing. New dreams come to her almost daily, each a different and inspired project. Paterson loves Laura and she loves him. He supports her newfound ambitions; she champions his secret gift for poetry. The history and energy of the City of Paterson is a felt presence in the film and its simple structure unfolds over the course of a single week. The quiet triumphs and defeats of daily life are observed, along with the poetry evident in its smallest details.

In a struggling post-Soviet community, Lilja a teenage girl is abandoned when her mother moves to the United States with her boyfriend. Facing neglect and poverty, she meets Andrei, who offers her a job in Sweden, giving her hope for a better life — and a journey that will change everything.

The Dresser is a 1983 historical drama directed by journeyman filmmaker Peter Yates (who was behind movies from a wide variety of genres, from the Steve McQueen action thriller Bullitt in ’68, to the sports coming-of-age drama Breaking Away in ’79), and adapted from the play of the same name by Ronald Harwood.
It follows the head of a Shakespearean acting company, referred to only as “Sir” (Albert Finney), and the loyal dresser that has been by his side for over a decade, Norman (Tom Courtenay).
As England plunges into WWII, this troop travels from town to town trying to lift the nation’s spirits, led with an iron fist by the often tyrannical and uncompromising Sir. However, as it becomes increasingly clear that Sir is losing his mental facilities, the rest of the actors begin to question if he is still fit to keep performing.
There is an inherent queerness to the world that The Dresser is set in, but in addition, the character of Norman, even though never explicitly referred to as gay, is played with all the mannerisms and obvious signals of a theater queen. Norman has no personal life outside being Sir’s right hand, and there is a combination of reverent adoration, submission, and obsession in how he behaves with him. The two form more of a marriage than Sir has with his own wife, and by the time their time together comes to an end, Norman has lost more than an employer; he’s lost a life partner. Some of these traits may feel a little obvious and overdone looking back, but Courtenay embeds it all with an honesty that feels authentic.
(Jorge Molina, queerty)

Based on a little-known but weird and rather wonderful novel by Davis Grubb, Laughton’s film is one of the strangest and finest films to have come out of Hollywood in the 1950s. Set in small West Virginia towns on the Ohio River during the Great Depression, it tells of a murderous rogue preacher (Robert Mitchum) who learns of a fortune stolen from a bank by a man he encounters in prison. Upon his release, he sets out to seduce the hanged man’s widow, but he hasn’t reckoned on the resistance of her children, especially her son. So begins a battle – between, as the preacher’s tattooed knuckles would have it, love and hate – to the death...
(Geoff Andrew, BFI)

Arthur C Clarke famously said there are just two possibilities: that we are alone in the universe, or we aren’t, and both are equally terrifying. The first terror is harder to put on film, but director Denis Villeneuve brings the second to life with this freaky and audacious contact sci-fi – and makes it something other than terror.
Arrival is a big, risky, showy movie that jumps up on its high-concept highwire and disdains a net. And yes, there are uneasy moments of silliness when it wobbles a little. But this is an exciting film, with a great performance from Amy Adams, all about the romance of other worlds, and this one.
(Marcus Christenson, The Guardian)

Under våren bjuder Malmö stadsarkiv i ett samarbete med Dovzjenko-center, Ukrainas största filmarkiv, på tre nedslag i Ukrainsk filmhistoria. Denna kväll ser vi skräckfilmen Amulet.

MALMÖ ANTIFASCISTA invites you to CINEMA RESISTENZA's presentation of Salò, or the 120 Days of Sodom - a film presentation commemorating the 81st Anniversary of Italy’s Liberation from Nazifascism on 25 April 1945The film is notorious, and rightly so, for the extremity of what it depicts. It has been banned, censored, and condemned in numerous countries. Yet to dismiss it as mere provocation is to miss its intellectual core. Pasolini was a poet, a novelist, a philosopher, and a polemicist; in Salò, he brings all of these faculties to bear on the question of what happens when power becomes absolute and the human body is reduced to an object of consumption.

Under våren bjuder Malmö stadsarkiv i ett samarbete med Dovzjenko-center, Ukrainas största filmarkiv, på tre nedslag i Ukrainsk filmhistoria. Först ut är stumfilmen Stormiga nätter från 1931 av Ivan Kavaleridze. En film som skildrar spänningen mellan det gamla bondesamhället och moderniseringen i det sovjetiska samhället. Filmen blev förbjuden av myndigheterna då den önskade propagandan för det sovjetiska projektet inte bedömdes tydligt nog. Filmen presenteras av Nataliia Neshevets forskare, designer och projektledare inom visuell kultur som tidigare varit verkställande ansvarig för Kyivbiennalen.

Innan visningen, välkomna på regissörsamtal med Marcus Carlsson på Fleurus kl.17:00. är nuvarande sveriges endast filmuthyrningbutik och cafe – en filial av Hypnos Theatre – som ligger på Karlskronaplan 11 i Malmö.
Biodlaren är ett finstämt drama om en far och en dotter som på olika sätt bär på en gemensam sorg. Filmen skildrar med stor känslighet både det vardagliga och det existentiella, från bikupans surrande till en relation i gungning. Det är en berättelse om förlust, tystnad och längtan efter närhet, men också om hoppet som kan spira när man vågar möta det svåra. Biodlaren utforskar kärleken, naturen och livets cykler, samtidigt som den berättar om en längtan efter ett sammanhang, långt från storstädernas brus.I huvudrollen ser vi Adam Lundgren (Torka aldrig tårar utan handskar, Känn ingen sorg, Vår tid är nu) och vid hans sida två imponerande värmlänningar – guldbaggenominerade Marika Lindström (Bränn alla mina brev, Vår tid är nu, Om jag vänder mig om) och nya stjärnskottet Hedvig Nilsson.

An audiovisual evening in observation of Singular’s LP ’Tre’ released on PLX Records Quelleᴰᴶ
Singularᴸᴵⱽᴱ × experimental imagingⱽᴶ
Sofftronicᴸᴵⱽᴱ × Jakob Skoteⱽᴶ

Monster tells the story of Aileen from her meeting with her girlfriend Selby Wall – based on her real-life lover Tyria Moore – to her attempts to ‘go straight’ and give up prostitution, and the savage beating and rape she endures from one of her clients that sees her commit her first murder. From there, Aileen kills six more clients before she is apprehended by law enforcement in a biker bar and tried in court. After a lengthy court case, she is found guilty of her crimes and sentenced to death.
Monster explores Wuornos’ relationship and struggles to fit into society after enduring years of abuse from those she should have been able to trust, as well as the savage crimes she claims were all in self-defense. The juxtaposition of these facets of her life never lets the audience feel comfortable, creating a palpable sense of dread and a ticking time bomb ready to explode. Jenkins’ approach to the case does not justify Wuornos’ crimes, nor does it paint her as a psychotic killer who revels in death. Monster treads the line between horrific and devastating, culminating in its emotional final scenes which see Wuornos walking toward the final days of her life in prison.
(Rebecca Sayce, STARBURST)

Welcome to the Institute of Degrowth Studie´s of film screening of documentary The Cost of Growth!

A film by Thomas Maddens, Anuna De Wever, & Lena Hartog

This is a public event and for everyone who is interested - and not just for members of the institute.

The film is free to attend (no cost!) We will accept donations at the door on the day of the screening to help cover rental costs and to donate to the film team.

18.30 doors open

18.50 Welcome and introduction.

19.00 - 20.30 The film

ca 20.45- 21-15 Pierre Smith Khanna (director of Fairytales of Growth) will host a Q&A

More about the film HERE.

About the movie: The Cost of Growth challenges Europe’s growth story by exposing the extractive systems it relies on and the communities that pay the price.

With an international cast, the film connects struggles in Serbia, Italy, and Sápmi to wider fights for justice — showing how communities resist extraction, build solidarities, and expose the violence behind Europe’s economy.

Swedish thriller based on Stieg Larsson's novel about a male journalist and a young female hacker. In the opening of the movie, Mikael Blomkvist, a middle-aged publisher for the magazine Millennium, loses a libel case brought by corrupt Swedish industrialist Hans-Erik Wennerström. Nevertheless, he is hired by Henrik Vanger in order to solve a cold case, the disappearance of Vanger's niece.

Starring Gina Gershon and Jennifer Tilly, Bound is a story of Violet and Corky, a mobster’s girlfriend and an ex-con who fall in love. But, because Violet’s boyfriend is trigger-happy mobster Caesar, their love affair must be secret. When Violet comes up with a plan to steal $2 million from Caesar and frame the theft on one of Caesar’s mob partners, she needs Corky to help her pull it off. Things don’t go quite as planned, and Corky and Violet are forced to improvise in order to stay alive and stay together.
Beyond being an exceedingly entertaining, edge-of-your-seat thriller with all the violence any true lover of crime dramas could crave, what sets Bound truly apart from all the other films in its genre is the way The Wachowskis build the characters of Corky and Violet, the way they make them three-dimensional, much more than props or tropes to further the narrative. Looking back, one could see that Lana and Lilly Wachowski saw themselves in Corky and Violet; as two women trapped in a world in which they didn’t fit, busting to get out, to express themselves, to break barriers and defy the expectations put upon them. In exploring, building and bringing Corky and Violet to life, the Wachowskis were able to find a voice for their societal frustrations, using their artistic vision to bring characters to the screen that were contrary to what Hollywood generally permits there. The result is a film that features characters that are not only groundbreaking, but stand the test of time.
(Catherine Springer, Awardswatch)

Longing for a queer love story with a happy ending? Look no furter than Imagine me & you!
The gold standard. The blueprint. The rom-com that launched a thousand “wait… am I gay?” realizations. A bride falls for a florist. Yes, on her wedding day. Yes, chaos ensues. Yes, love wins.
(Nadja Houmoller, Womentainment)

Days of Heaven is a tragic romance and slo-mo melodrama which established Malick’s most recognisable authorial signature: his reverence for the fading, deepening sunlight of dusk which made him virtually the high priest of the “golden hour”.

It is set in 1916, with some of the US feverishly excited about the fortunes still to be made in the vast swathes of still unexploited farmland and also aware of the looming inevitability of getting involved in the European war. Three drifters from Chicago arrive in the Texas panhandle in the north of the state, hoping to get seasonal farm labouring work. Abby (Brooke Adams), is a beautiful, quiet young woman with a kid sister Linda (Linda Manz), an annoying, entertaining chatterbox who is also watchful and slightly scared by how vulnerable they are; she is the film’s deadpan narrator, coolly accepting their hardship and survival stratagems. With them is Abby’s lover, the brooding and hot-tempered Bill (Richard Gere), who has fled the city after killing a factory foreman and is now posing as Abby’s brother...

(Peter Bradshaw, The Guardian)

Eva is a divorced soon-to-be empty-nester wondering about her next act. Then she meets Marianne, the embodiment of her perfect self. Armed with a restored outlook on being middle-aged and single, Eva decides to take a chance on her new love interest Albert — a sweet, funny and like-minded man. But things get complicated when Eva discovers that Albert is in fact the dreaded ex–husband of Marianne...

We began this series of Béla Tarr films to honor his long-time collaborator László Krasznahorkai as 2025’s recipient of the Nobel Prize in Literature.

Heartbroken. We will screen the remainder of the series in celebration and remembrance of Béla Tarr. Our hearts are with Ágnes Hranitzky, Béla’s long-time collaborator and spouse, and László and all of his family and friends and admirers.

Under these circumstances I cannot coerce myself to sell you on attending this screening. If you are in doubt whether this film is for you, take a few moments to look it up.

With DRACULA we are thrilled to see director Radu Jude’s creative, anarchistic turn on big screen, while his conventional, Kontinental ’25 is still fresh in our minds. You probably haven’t heard of Radu Jude, I hadn’t. But now that I have… It’s apparent that he is working like no one else in the business. 

“[Dracula]’s fucking nuts … A film that will be studied for decades!” (rogerebert.com)

Transylvania is widely known as the birthplace of Dracula, widely known that is, outside Transylvania itself, whose residents had to read about this local-imported fantasy in translation, thrust upon them by the Irish author Bram Stoker.

Jude’s Dracula is e.v.e.r.y.t.h.i.n.g – except (but including) the austere depictions of Dracula throughout film history. It is Dracula from the POV of a Romanian director who tries everything to create a film about Dracula, all the while critiquing everything from IP to AI, and subverting and innovating on as many cinematic traditions as possible – a film about “Dracula … built more like Frankenstein” (Variety)

Jude promises a kaleidoscopic and, according to him, super-commercial movie if you like “strong feelings, sex, nudity, action, blood, vampires, AI-generated images, car-chases and comedy of the highest quality.”

A werewolf coming-of-age tale about two sisters on the brink of womanhood, Ginger Snaps has a complex subtextual queerness: While neither Brigitte (Emily Perkins) nor Ginger Fitzgerald (Katharine Isabelle) are expressly written as LGBTQ+, there’s plenty of queer meaning packed into the latter’s lycanthropic transformation. The film has been read alternately as a trans allegory, a bisexual bildungsroman, and a lesbian classic, but however you choose to interpret the story, there’s so much fun to be had between the delicious dialogue and fantastic practical effects.
(Samantha Allen, Them)

Born on January 20, 1946, moved to a different dimension on January 16, 2025, David Lynch has irrevocably changed not only the cinema itself, but also how we think about and relate to it.
Every year, in homage to the great magician, we immerse ourselves in the worlds he created.

Film i Malmö hosts screenings of Twin Peaks (the entire 1st season, key episodes of season 2, and the entire part three, The Return) this winter and spring. Seasons 1 and 2 are screened on Sunday afternoons. How we schedule the screenings of The Return, will be subject to a collective decision made by the attendees.

An immersive cinematic experience where anything can happen — film, performers, music, sound, and scenography spill beyond the screen in a playful yet unsettling Shining-inspired tale.

With performances by:a
Stina Sturesson Svansjö, Anette Lindbäck, and others.

A production by Gökägget
Emelie Carlsson Gras & Otto Vretare
in collaboration with ArchFilmLund.

An immersive cinematic experience where anything can happen — film, performers, music, sound, and scenography spill beyond the screen in a playful yet unsettling Shining-inspired tale.

With performances by:
Stina Sturesson Svansjö, Anette Lindbäck, and others.

Emelie Carlsson Gras & Otto Vretare
in collaboration with ArchFilmLund.

Some of you may recall the 3-projector exhibition of ILOVERUSS at Hypnos Theatre x Nordisk Panorama 2024. It was already at that time in the middle of the editing process that would result in the single-screen feature film ILOVERUSS, which premiered CPH:DOX 2025.

To install 3 projectors and accompanying screens in Hypnos Theatre meant we needed to remove all of but a small number of the cinema seats. It also meant we needed to put a hole in the wall to accommodate one of the projector’s throw distance. We also needed rip up and eventually replace all of the carpet. To say that ILOVERUSS took over Hypnos and my world for 2weeks, doesn’t quite capture the extent of it. – there was all of the preparation and the dismantling, even the sign for the exhibition still hangs outside of the door into the theatre.

but this is only interesting because of what the artist and director Tova Mozard did with ILOVERUSS. She found not only a profound friendship, but a screen-ready and uniquely compelling character in Russ – a long time resident of L.A. with a very, very long list of uncredited extra roles in television and movies – and then she centered him. The film largely depicts the daily life of a friendship through 20 years of raw and personal footage offering “the backside of the seductive movie city […] a world of diners, swimming pools and bungalows, portrayed with an artist’s eye for the sunny Californian surface – and for the twilight of the mind that over the years settles over her close friend.” (CPH:DOX) But more interestingly, what settles into the viewer, at least this viewer who spent weeks with it looping in the surround, is how unsettling it is that we can only live without comprehending that each and every “extra” lives a deep, profound life. Not everyone is as camera-ready as Russ, having spent decades thinking of himself in front of cameras, without it really ever capturing him, until now.

Born on January 20, 1946, moved to a different dimension on January 16, 2025, David Lynch has irrevocably changed not only the cinema itself, but also how we think about and relate to it.
Every year, in homage to the great magician, we immerse ourselves in the worlds he created.

Film i Malmö hosts screenings of Twin Peaks (the entire 1st season, key episodes of season 2, and the entire part three, The Return) this winter and spring. Seasons 1 and 2 are screened on Sunday afternoons. How we schedule the screenings of The Return, will be subject to a collective decision made by the attendees.

One night in his near-empty tower block in contemporary London, Adam (Andrew Scott) has a chance encounter with a mysterious neighbor Harry (Paul Mescal), which punctures the rhythm of his everyday life. As a relationship develops between them, Adam is preoccupied with memories of the past and finds himself drawn back to the suburban town where he grew up, and the childhood home where his parents (Claire Foy and Jamie Bell), appear to be living, just as they were on the day they died, 30 years before.
It's a magical gift of a film; a haunting beauty worth seeing for anyone who has ever loved or longed.
(Joonatan Itkonen, Region Free)

We've decided to embrace the recent snowpocalypse by screening The Shining!
Jack Torrance (Jack Nicholson) becomes winter caretaker at the isolated Overlook Hotel in Colorado, hoping to cure his writer's block. He settles in along with his wife, Wendy (Shelley Duvall), and his son, Danny (Danny Lloyd), who is plagued by psychic premonitions. As Jack's writing goes nowhere and Danny's visions become more disturbing, Jack discovers the hotel's dark secrets and begins to unravel into a homicidal maniac hell-bent on terrorizing his family.
The Shining is without a doubt one of the most iconic horror classics. Based on Stephen King’s novel, the picture is a complex character study, a thrilling thriller, and an amazing horror story all in one. With an out-of-this-world cast, The Shining remains a cult film that’s ideal for a cold winter evening.
(Zofia Wijaszka, Nerdspin)

Born on January 20, 1946, moved to a different dimension on January 16, 2025, David Lynch has irrevocably changed not only the cinema itself, but also how we think about and relate to it.
Every year, in homage to the great magician, we immerse ourselves in the worlds he created.

Film i Malmö hosts screenings of Twin Peaks (the entire 1st season, key episodes of season 2, and the entire part three, The Return) this winter and spring. Seasons 1 and 2 are screened on Sunday afternoons. How we schedule the screenings of The Return, will be subject to a collective decision made by the attendees.

Remakes don’t get much better than Mike Nichols’s The Birdcage, which embraced drag shows long before they became the height of cool, and more unsettlingly, another casualty of the rising tide of fascism. The movie’s entire pivot point is the marriage in everything but name between Armand (the much-missed Robin Williams) and Albert (Nathan Lane), the former of whom is the owner of the drag club where the latter is star performer Starina. Their relationship is tested when their son Val (Dan Futterman) announces his marriage to Barbara (Calista Flockhart, in one of her first roles), the daughter of a Republican politician, and Armand and Albert attempt to pass as respectable straights. The result is a satire so subversive that audiences willingly laughed at many of their most sacred cows, including marriage, politics, sexism, homophobia, and the traditional family itself.
-Andrea Thompson, Chicago Reader

The visionary chroniclers of eccentric Americana Joel and Ethan Coen present one of their greatest creations in Llewyn Davis, a singer barely eking out a living on the peripheries of the flourishing Greenwich Village folk scene of the early sixties. As embodied by Oscar Isaac in a revelatory performance, Llewyn (loosely modeled on the Village folk legend Dave Van Ronk) is extraordinarily talented but also irascible, rude, and self-defeating. His circular odyssey through an unforgiving winter cityscape, evocatively captured by cinematographer Bruno Delbonnel, is realized with poignant humor and the occasional surreal touch. Featuring a folk soundtrack curated by T Bone Burnett, Inside Llewyn Davis reminds us that in the Coens’ world, history isn’t necessarily written by the winners.

Born on January 20, 1946, moved to a different dimension on January 16, 2025, David Lynch has irrevocably changed not only the cinema itself, but also how we think about and relate to it.
Every year, in homage to the great magician, we immerse ourselves in the worlds he created.

Film i Malmö hosts screenings of Twin Peaks (the entire 1st season, key episodes of season 2, and the entire part three, The Return) this winter and spring. Seasons 1 and 2 are screened on Sunday afternoons. How we schedule the screenings of The Return, will be subject to a collective decision made by the attendees.

We began this series of Béla Tarr films to honor his long-time collaborator László Krasznahorkai as 2025’s recipient of the Nobel Prize in Literature.

Heartbroken. We will screen the remainder of the series in celebration and remembrance of Béla Tarr. Our hearts are with Ágnes Hranitzky, Béla’s long-time collaborator and spouse, and László and all of his family and friends and admirers.

Under these circumstances I cannot coerce myself to sell you on attending this screening. If you are in doubt whether this film is for you, take a few moments to look it up. Sátántangó was originally scheduled on this day, but I believe more of you will choose to attend Werckmeister Harmonies. Hopefully, once you have seen the cinematic magic of Béla Tarr, László Krasznahorkai and Ágnes Hranitzky on the screen at Hypnos, you will be convinced to join us again on February 28 for their magnum opus Sátántangó.

WHAT YEAR IS THIS?

Celebrating the legacy of David Lynch on his first re-birthday.
Every year, in homage to the great magician, we immerse ourselves in the worlds he created.

In Lost Highway, Fred Madison and his wife Renee receive mysterious videotapes with recordings of their house. First, from outside the house. And then, on the inside. The police aren’t interested until a video turns up showing Renee’s death. Now the police suspect Fred and from here the nightmare escalates. Lost Highway is a neonoirthriller from David Lynch at his best. StarringBill Pullman (Independence Day) och Oscars winner Patricia Arquette (Boyhood).

Lost Highway | David Lynch | 1997 | 135′ | OVwsv | DCP

Born on January 20, 1946, moved to a different dimension on January 16, 2025, David Lynch has irrevocably changed not only the cinema itself, but also how we think about and relate to it.
Every year, in homage to the great magician, we immerse ourselves in the worlds he created.

Film i Malmö hosts screenings of Twin Peaks (the entire 1st season, key episodes of season 2, and the entire part three, The Return) this winter and spring. Seasons 1 and 2 are screened on Sunday afternoons. How we schedule the screenings of The Return, will be subject to a collective decision made by the attendees.

An evening of experimental music and visuals, featuring members of the Pixlar o Ljud community – artists and musicians using programming and technology as a creative tool.

Lineup
——
@paulkhadra + @jakobskote
@eblomusic_
@andreas.singular + @expimg
@filonov.studio
@konstantine.f + darch
@granrothbenjamin
@matsmorlund + @simondavidryden

Free entry! Huge thanks to @musikcentrumsyd for supporting this event

Celebrating the legacy of David Lynch who moved to a different dimension one year ago, on January 15, 2025.
Every year, in homage to the great magician, we immerse ourselves in the worlds he created.

Mulholland Drive, widely-regarded as one the best films of the 21st century, is one of the quintessential Hollywood-themed movies. Lynch moved from Philadeplphia to L.A. in 1970 to attend the American Film Institute and never left. His home for over 50 years, L.A. plays a leading role in many of Lynch's films. The film's namesake, Mulholland Drive is itself a famous road twisting through the Santa Monica hills, offering unparalleled views of Los Angeles, including the Hollywood sign. The history of Hollywood is nothing if not a universe of dreams-come-true and, even more-so, dreams that died. No other film, or filmmaker captures Hollywood as a dream, as well as Lynch does with Mulholland Drive.

Fargo subverts the expectations of its genre by taking the plot of a crime story and adding elements of screwball comedy and a heightened sense of Midwestern charm. The story begins when Jerry, a car salesman in a small town in Minnesota, weighed down by his numerous debts, concocts a scheme to hire two crooks to kidnap his wife and extract a hefty ransom from his wealthy father-in-law, but things don't go to plan, and people start dying.

Prim and proper executive Louis Winthorpe III (Dan Aykroyd) and down-and-out hustler Billy Ray Valentine (Eddie Murphy) are the subjects of a bet by successful broker brothers, Mortimer and Randolph Duke. As an employee of the Dukes, Winthorpe is framed by the brothers for a crime he didn't commit, with the siblings then installing the street-smart Valentine in his position. When Winthorpe and Valentine uncover the scheme, they set out to arrange for a rich and riotous payback. You don't want to miss this modern day Pygmalion story. A truly great comedy masterpiece!

When Sarah is forced to babysit her half-brother Toby, she inadvertently summons the Goblin King who whisks Toby away to his castle at the center of a labyrinth. Sarah enters into a bargain with the Goblin King where she is given just thirteen hours to solve the labyrinth and rescue Toby, or else lose him forever.

It’s that time of year again when we sit down to watch a beloved Christmas movie with our favorite old fart Bill Murray, I mean Frank Cross, in what is arguably the best adaptation of Charles Dickens’ A Christmas Carol. Directed by Richard Donner, Scrooged follows Frank Cross as he navigates his least favorite time of year, Christmas. Scrooged is one of the few times in the history of cinema we see faeries as the complicated, cruel, monstrous, (and sometimes funny) creatures they are - David Bowie's The Labyrinth being another rare example.

(Sezín Koehler, Black Girl Nerds)

In a dramatic turn, Melissa McCarthy portrays a broke, brilliant lesbian writer turned forger. It’s 1991 in New York City and Lee Israel (McCarthy) is a washed up biographer who has painted herself into a corner of obscurity. She’s gay, she’s mean, she’s lonely, and the only friend she has in the world is her cat.

Can You Ever Forgive Me? is based on the 2008 memoir by Israel and McCarthy is brilliant as the dowdy dyke/crazy cat lady with a criminal gift for mimicking wit; it’s shockingly refreshing to have such a marginal character embody a struggling woman’s perspective. [The film] is a coming out tale—not so much about sexuality as about authenticity: be yourself and tell the truth about yourself; don’t expect to live through or off other people. For someone with intimacy issues that’s easier said than done. The irony is, of course, that to find out who she really is Israel must lose her way completely, penning in excess of 400 fake missives impersonating other people, before she understands what she’s made of.

This film is a bittersweet delight and McCarthy shines in a role that should be thoroughly unappealing but isn’t. In fact, she delivers a kind of queer, feminist anti-hero that I have not seen before. Israel doesn’t care what anyone thinks of her and she’s not sorry for what she does. Plus, it’s a real pleasure to watch a film where iPhones, sex, and young, beautiful people are completely absent—and a middle-aged lesbian character sitting at an antique typewriter is the subject of a bravura performance.

(Merryn Johns, curve)

Indie comic book artist Holden falls head-over-heals with fellow artist Alyssa, but for that love to live, he'll need to contend with his disapproving best friend Banky, her sexuality, and his own misgivings about himself. From award-winning writer/director Kevin Smith, Chasing Amy offers a thoughtful, funny look at how perceptions alter lives, and how obsession and self-doubt skew reality.

Last but not least: SALTBURN. Let's (re)watch it, finally!

Penned from 1955 all the way to 1991, the original Highsmith books — The Talented Mr. Ripley, Ripley Under Ground, Ripley’s Game, The Boy Who Followed Ripley, and Ripley Under Water — each depict Ripley as a calculating sociopath whose sophistication serves as his greatest alibi. Surely a man who seems so well-heeled wouldn’t strangle anybody! One of the most widely known literary characters, Ripley is often coded as gay through subtle references and allusions, but Highsmith never confirmed that’s how she saw the character, and even said in a late-in-life interview, “I don’t think Ripley is gay,” adding that while he “appreciates good looks in other men,” he may just not be “very strong in the sex department.” But authorial intention doesn’t matter as much as what’s on the page, which explains why some adaptations are quite queer and others aren’t.

***** NOVEMBER: RIPLEY *****

Who is the gayest version of Ripley ever put on screen? Given the (…) TV series, and all the Saltburn-adjacent interest in homoerotic class climbing in a dark academia setting, I have been immersing myself in the Ripley-verse to find out if we’ve been sleeping on any of the lesser known portrayals. None of these movies are officially connected to each other, and some of them present radically different versions of the character, but they all treat us to the simple pleasures of watching a handsome man do terrible things. You might think the bathtub scene in the ’99 version is about as queer as Ripley can get (and yes, Saltburn’s bathtub scene was almost certainly inspired by that one), but that’s not necessarily the case.

(Samantha Allen, Them)

Andrew Largeman shuffles through life in a lithium-induced coma until his mother’s death inspires a vacation from the pills to see what might happen. When he meets Sam, her warmth and fearlessness give him the courage to open his heart to the joy and pain of the infinite abyss that is life.

This French adaptation was made just five years after The Talented Mr. Ripley was published and proved to be a breakout hit for actor Alain Delon. It’s easy to see why: he’s absolutely dripping with charisma in the role. While the homoerotic subtext isn’t quite as pronounced as the 1999 film, glimmers of it still shine through in moments like the famous sailboat peeping scene. But what rockets Plein Soleil up the gayness charts is Tom Ripley’s overall aesthetic. This is certainly the twinkiest take on Ripley, which is not really an adjective I’d apply so readily to Matt Damon’s performance. And throughout much of this movie, Delon’s Ripley rocks a French tuck, the look that Queer Eye’s Tan France basically turned into a religion.

***** NOVEMBER: RIPLEY *****

Who is the gayest version of Ripley ever put on screen? Given the (...) TV series, and all the Saltburn-adjacent interest in homoerotic class climbing in a dark academia setting, I have been immersing myself in the Ripley-verse to find out if we’ve been sleeping on any of the lesser known portrayals. None of these movies are officially connected to each other, and some of them present radically different versions of the character, but they all treat us to the simple pleasures of watching a handsome man do terrible things. You might think the bathtub scene in the ’99 version is about as queer as Ripley can get (and yes, Saltburn’s bathtub scene was almost certainly inspired by that one), but that’s not necessarily the case.

(Samantha Allen, Them)

*** TICKETS: 100SEK ONLINE or AT THE DOOR ***

This French adaptation was made just five years after The Talented Mr. Ripley was published and proved to be a breakout hit for actor Alain Delon. It’s easy to see why: he’s absolutely dripping with charisma in the role. While the homoerotic subtext isn’t quite as pronounced as the 1999 film, glimmers of it still shine through in moments like the famous sailboat peeping scene. But what rockets Plein Soleil up the gayness charts is Tom Ripley’s overall aesthetic. This is certainly the twinkiest take on Ripley, which is not really an adjective I’d apply so readily to Matt Damon’s performance. And throughout much of this movie, Delon’s Ripley rocks a French tuck, the look that Queer Eye’s Tan France basically turned into a religion.

***** NOVEMBER: RIPLEY *****

Who is the gayest version of Ripley ever put on screen? Given the (...) TV series, and all the Saltburn-adjacent interest in homoerotic class climbing in a dark academia setting, I have been immersing myself in the Ripley-verse to find out if we’ve been sleeping on any of the lesser known portrayals. None of these movies are officially connected to each other, and some of them present radically different versions of the character, but they all treat us to the simple pleasures of watching a handsome man do terrible things. You might think the bathtub scene in the ’99 version is about as queer as Ripley can get (and yes, Saltburn’s bathtub scene was almost certainly inspired by that one), but that’s not necessarily the case.

(Samantha Allen, Them)

*** TICKETS: 100SEK ONLINE or AT THE DOOR ***

The 1999 film may have more direct moments of Ripley lusting after men, but nothing tops the sheer flamboyance of John Malkovich’s portrayal of the character in middle age. A beret-wearing art forger who has settled down in Italy with his beard wife Luisa (Chiara Caselli), Malkovich’s Ripley is almost always filmed wearing a cravat, even while riding a bicycle around his meticulously decorated villa. Based on the third Highsmith novel in the series, this film has perhaps the gayest premise of all time: an acquaintance slights Ripley at a party and so Ripley decides to destroy his entire life, in this case by pressuring him into a murder-for-hire scheme. But when he’s not garroting mobsters in a train car, this Ripley can’t help but ooze homosexual. He’s shown sewing in a robe while perched on red silk sheets and baking a soufflé that prompts Luisa to label him “the perfect housewife.” But this Ripley’s most iconic and Exclusively Gay Moment™ comes when someone asks him “Who are you?” to which he quickly responds “I’m a creation.” If that’s not a Drag Race entrance line, I don’t know what is.

***** NOVEMBER: RIPLEY *****

Who is the gayest version of Ripley ever put on screen? Given the (...) TV series, and all the Saltburn-adjacent interest in homoerotic class climbing in a dark academia setting, I have been immersing myself in the Ripley-verse to find out if we’ve been sleeping on any of the lesser known portrayals. None of these movies are officially connected to each other, and some of them present radically different versions of the character, but they all treat us to the simple pleasures of watching a handsome man do terrible things. You might think the bathtub scene in the ’99 version is about as queer as Ripley can get (and yes, Saltburn’s bathtub scene was almost certainly inspired by that one), but that’s not necessarily the case.

(Samantha Allen, Them)

Whether you loved Saltburn or loathed it, you have to admit that it is essentially Talented Mr. Ripley fan fiction. (Maybe you think it’s very good fan fiction, but it doesn’t forge much new ground.) And there can really be no substitute for the homoeroticism of every charged interaction between Ripley (Matt Damon) and Dickie Greenleaf (Jude Law) in this remarkably nuanced psychological thriller that inspired countless imitators. Anthony Minghella’s adaptation makes the grifter’s gayness all but text, showing Ripley asking to join Dickie in the bathtub, and even including a male lover in its third act, though the relationship is never outright specified. At his core, this incarnation of Ripley wants to be gay in Italy, own expensive art, and play the piano — and if he has to crack a few skulls to live that life, so be it. Who among us wouldn’t murder someone for a gorgeously appointed Rome apartment?

***** NOVEMBER: RIPLEY *****

Who is the gayest version of Ripley ever put on screen? Given the (...) TV series, and all the Saltburn-adjacent interest in homoerotic class climbing in a dark academia setting, I have been immersing myself in the Ripley-verse to find out if we’ve been sleeping on any of the lesser known portrayals. None of these movies are officially connected to each other, and some of them present radically different versions of the character, but they all treat us to the simple pleasures of watching a handsome man do terrible things. You might think the bathtub scene in the ’99 version is about as queer as Ripley can get (and yes, Saltburn’s bathtub scene was almost certainly inspired by that one), but that’s not necessarily the case.

(Samantha Allen, Them)

The Matrix films are about being transgender, the trilogy's co-director says. "That was the original intention but the world wasn't quite ready," says Lilly Wachowski, who came out as trans along with her sister Lana after the films came out.
No better time to rewatch the movies than now.

**********************************
***QUEER FUNDRAISER***
Stevie lives in Australia and sings in a hardcore band. They are a film freak, a good friend and an even better person.
Stevie is also trans and in need of gender-affirming surgery. It's an expensive procedure and so is the road to get there, filled with hidden fees like psychiatric appointments, medical supplies and drugs for recovery afterwards.
To help Stevie get what they need to live their life to the fullest as their true self, please donate to their gofundme:
https://www.gofundme.com/f/stevie-needs-top-surgery
**********************************

HALLOWEEN MASTERPIECE MOVIE

Tickets available at the door. 100kr

Doors open 30 minutes before showtime.

The most well known German expressionist film and one of the most famous of all silent movies. F. W. Murnau's Nosferatu: A Symphony of Horror continues to haunt – and, indeed, terrify – modern audiences with the unshakable power of its images. By teasing a host of occult atmospherics out of dilapidated set – pieces and innocuous real – world locations alike, Murnau captured on celluloid the deeply – rooted elements of a waking nightmare, and launched the signature ” Murnau – style” that would change cinema history forever.

Nosferatu Completists! This October we will trace the steps of the most renowned bloodsucker throughout his 100-year existence in film history. Since the premiere in Berlin in March 1922, Murnau’s NOSFERATU – A SYMPHONY OF HORROR remains the most influential vampire film of all time - arguably the most iconic horror film ever made and one that captures the imagination to this day. It's no wonder the figure has fascinated the greatest filmmakers Herzog, Coppola, Eggers, etc ...

The Matrix films are about being transgender, the trilogy's co-director says. "That was the original intention but the world wasn't quite ready," says Lilly Wachowski, who came out as trans along with her sister Lana after the films came out.
No better time to rewatch the movies than now.

**********************************
***QUEER FUNDRAISER***
Stevie lives in Australia and sings in a hardcore band. They are a film freak, a good friend and an even better person.
Stevie is also trans and in need of gender-affirming surgery. It's an expensive procedure and so is the road to get there, filled with hidden fees like psychiatric appointments, medical supplies and drugs for recovery afterwards.
To help Stevie get what they need to live their life to the fullest as their true self, please donate to their gofundme:
https://www.gofundme.com/f/stevie-needs-top-surgery
**********************************

This is arguably Woody Allen's best and most original film. The juxtaposition between comedy and drama is simply sublime.
Two parallel stories, one with Judah (Martin Landau) as a renowned eye doctor driven to extreme measures to preserve his stable family life from hounding threats to expose him and blackmail him by his neurotic mistress. While
the other parallel story line is classic Woody Allen, who plays Cliff, a documentary filmmaker, down on his luck, who is given a job as a favor by his brother-in-law. This hapless and hilarious experience is cleverly inter-cut with the Landau story to great effect.
This film is both frighteningly believable and thought-provoking while delving into deep questions regarding morality and murder. This film is most definitely a must-see!

*****QUEER THURSDAYS*****

Officer K (Ryan Gosling), a new blade runner for the Los Angeles Police Department, unearths a long-buried secret that has the potential to plunge what's left of society into chaos. His discovery leads him on a quest to find Rick Deckard (Harrison Ford), a former blade runner who's been missing for 30 years.

The leaders of seven wealthy democracies get lost in the woods while drafting a statement on a global crisis, facing danger as they attempt to find their way out.

Written and directed by three beloved cult Canadian experimentalists and starring Cate Blanchett, Alicia Vikander among others this film is in a style all its own, thoroughly comedic, "bizarre, brilliant and hilariously pin-sharp" (Telegraph)

The massed foibles and outright idiocies of the seven principals — all sharp individual comic creations, but collectively a devastating hot-air hydra of enfeebled contemporary democracy — add up to a frustrated protest against our elected elite fiddling while Rome (or the planet, rather) burns, offering mealy-mouthed sentiments that gesture toward coordinated action without ever getting there. (Variety)

********************************** 🎥 30 years later, Remembering DOGME 95 🎥 In March 1995, at a Parisian conference celebrating 100 years of film, Danish director Lars von Trier handed out red pamphlets that would formally announce DOGME 95. Together with Thomas Vinterberg, Trier had created a manifesto that compiled a “Vow of Chastity” - a strict set of rules that would determine whether or not film could be considered part of the movement. DOGME 95 was a backlash against the commercial studio filmmaking of the time, with its over-reliance on technology and digital tools. Over time, many filmmakers around the world joined the movement, creating together a rich body of work. However, not all films would strictly abide by every rule, so filmmakers would be required to “confess” the ways in which they have failed to comply with their vows. This September, at Film i Malmö, we will revisit some of the most renowned films produced by the DOGME collective, and will celebrate their audacity, non-conformism, and determination to keep independent cinema alive! **********************************

30 years later, Remembering DOGME 95

In March 1995, at a Parisian conference celebrating 100 years of film, Danish director Lars von Trier handed out red pamphlets that would formally announce DOGME 95. Together with Thomas Vinterberg, Trier had created a manifesto that compiled a “Vow of Chastity” - a strict set of rules that would determine whether or not film could be considered part of the movement. DOGME 95 was a backlash against the commercial studio filmmaking of the time, with its over-reliance on technology and digital tools. Over time, many filmmakers around the world joined the movement, creating together a rich body of work. However, not all films would strictly abide by every rule, so filmmakers would be required to “confess” the ways in which they have failed to comply with their vows.

This September, at Film i Malmö, we will revisit some of the most renowned films produced by the DOGME collective, and will celebrate their audacity, non-conformism, and determination to keep independent cinema alive!

We Love David Lynch at Hypnos! And yet there is one work we have never screened, until now...

THE STRAIGHT STORY has been called poignant and profound and been described as "I can't believe David Lynch made this film" - so if you're somehow put off by his other work, here is a Lynch film for you. And for the completists, it's one that has to be seen.

When Alvin Straight, a stubborn, physically-ailing 73yr old, learns that his brother whom he hasn't met in 10 years has had a stroke, he becomes determined to make peace. Due to poor eyesight and bad legs, Alvin doesn't have a drivers license, so he packs up and heads off from Iowa to Wisconsin on his old riding lawn mower.

Sundays this fall, Hypnos will be screening films that let us slow down and settle in. Quiet dramas of changing lives and cinematic poetry. It should be said that entrance to this film is not included in Film i Malmö memberships. The rights have been attained through Njuta Films. Entrance is 100sek and is to be paid at the door. Doors open at 17:30. We will put on a pot of damn good coffee.

A family secret comes to light amidst the celebration of the patriarch’s birthday. Christian, the eldest son is the master of ceremonies for the big family reunion but has other plans than simply honoring his father. Raw, direct and unapologetic, this film was the first to come from the Dogme 95 manifesto and still one of the most powerful.

30 years later, Remembering DOGME 95

In March 1995, at a Parisian conference celebrating 100 years of film, Danish director Lars von Trier handed out red pamphlets that would formally announce DOGME 95. Together with Thomas Vinterberg, Trier had created a manifesto that compiled a “Vow of Chastity” - a strict set of rules that would determine whether or not film could be considered part of the movement. DOGME 95 was a backlash against the commercial studio filmmaking of the time, with its over-reliance on technology and digital tools. Over time, many filmmakers around the world joined the movement, creating together a rich body of work. However, not all films would strictly abide by every rule, so filmmakers would be required to “confess” the ways in which they have failed to comply with their vows.

This September, at Film i Malmö, we will revisit some of the most renowned films produced by the DOGME collective, and will celebrate their audacity, non-conformism, and determination to keep independent cinema alive!

Doors open 30 minutes before showtime.

If you're not currently a member, sign up here.

Important! We are currently unable to accept SWISH payments on the website. Please pay using a credit card via PayPal (you do NOT need a PayPal account). If you need to pay using SWISH, please attempt to sign up here and select SWISH as your payment. It will return an ERROR but it will create an order in our system with your details which makes it easy for us to complete at the door. Thank you this will make the process much simpler for us! We are sorry for the inconvenience and expect to resolve it within a week.

Kl. 19 Kvartet Korpen:

Filmen skildrar arbetarklassens situation i Sverige 1936. I centrum står en familj, där sonen vill bli författare, där fadern är en alkoholiserad livslögnare och drömmare och modern sliter för att de ska kunna överleva.

Kl. 17 Barnvagnen: