EXEC Lars Jönsson
PROD Anna Anthony, Gunnar Carlsson, Tomas Eskilsson
SCR Jesper Ganslandt, Fredrik Wenzel
DP Fredrik Wenzel
CAST John Axel Eriksson, Holger Eriksson, David Johnson, Jesper Ganslandt, Jörgen Svensson
ED Jesper Ganslandt, Michal Leszczylowski
MUSIC Erik Enocksson
Venice (Venice Days), Toronto (Discovery), AFI (International Competition)
A group of Swedish youngsters says goodbye to the happy melancholy of youth in Jesper Ganslandt’s effective mood piece Farväl Falkenberg (Falkenberg Farewell). The atmospheric portrait of the kids living in the titular Swedish coastal town emerged from a mountain of material inspired by the real lives of the film’s protagonists, initially shot on digital video without any financing or producer attached. The result is a freewheeling dive into the hermetically sealed world of all-male friendships that, though the film’s storytelling technique is quite impressionistic by way of Gus Van Sant, feels natural and true. Viewers paying attention to the film’s formal and structural aspects [...] will see a certain late plot development coming, which upsets yet confirms the status quo that preceded it. [...]
“Memories are deceitful,” announces the opening voice-over that is apparently read from a diary of one of the boys, before explaining that we are now “going back to them here”. The protagonists [...] are spending their last summer in their native Falkenberg, in that no man’s land between adolescence and adulthood. Like in the recent Spanish independent comedy Aislados (Isolated), the boys mainly enjoy hanging out with each other during summer, though besides talking, in Falkenberg they also swim, ride horses (or try to), go on small burglary sprees, push down dead trees and practice shooting. The boys are often paired in twos for their non-adventures, with discussion topics ranging from the coming of the antichrist (“In three weeks”) to the coming of the Messiah (“Two-and-a-half months”). [...]
The film features the type of shaky digital camera aesthetic that must be a major part of the curriculum of Scandinavian film schools now (though Ganslandt did not study film, as the press kit explicitely notes). The film’s structural collage-and-vignette approach works surprisingly well and contributes to its idea of memories as a subjective sensory repository that is often more about the how than about the why. [...] Actors playing versions of their own personas are in top form.
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