David Gülich

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.

Member of a neo-Nazi gang, her day job is to take care of four crazy old people that all are just waiting to die. Her life becomes a journey into a burlesque fairytale, where the rules of the game are created by Mette herself. Mette is indifferent about her way of life, until she one night assaults a man, kicking him senseless. Waking up the day after, she realizes that something is wrong.

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.

After a painful breakup, middle-aged Stella sleeps with her new, young tenant, Anton. When he rejects her, she spirals into obsession, guilt and longing, until she learns that only by embracing the humiliation can she reclaim freedom.

HAIYU interweaves Mariem Hassan’s music and her personal quest for her country’s independence with larger historical events dating back to the region’s Spanish colonisation, and subsequent occupation by Morocco.

Short film exploring various American film locations which have substituted for other locations all over the world.

A mother and her homeless son’s last line of communication–cement walls, electrical cabinets and dusty windows.

fifteen zero three nineteenth of january two thousand sixteen explores how everyday routines and gestures are transformed when a mother loses her child in the violence impacting Swedish outskirts since the early 2000s. The film resists simplistic media depictions of the suburbs and shows how a home can hold both mourning and the mobilization of women to fight for their own and others' children.

A young man named Johan works for the Swedish government and creates permits that enable the sale of protected lands. Johan thinks a lot, he always wants to do a good job, act right and wants to be considered right in the eyes of others. He is awaiting a bonus that he has been promised. The bonus is suddenly given to another colleague, Johan continues to work with the condition which wears on his already hard-pressed psyche. He experiences a disappearance from this world with a strong anxiety.

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.

In a world that is in constant and unstoppable change, it is easy to become historyless, lose clarity of perspective, and be blinded by the moment. The circumstances shape our belief of what is possible and much of what once was a struggle for many has now become taken for granted. Can a longer perspective increase our understanding of our surroundings?

A mysterious film about loneliness and death. Theodora lives in her house somewhere in the forests of Sweden. Vissen, a young boy with a broken arm, is her closest friend. In Theodora's kitchen Sot is resting in a pile of flour. Then their world is struck by a song and all goes on as usual.