After seeing The Wrestler, by my once favourite director Darren Aronofsky, and finding that he had lost all of his personality as a director on his voyage toward mainstream cinema, I had been worried that my other favourite director Lukas Moodysson would suffer the same fate in his attempt to make an American, Swedish film.
But I can happily report that he didn't.
There is no director, alive or dead, whose films make you feel more emotionally immersed than Moodysson. Nobody's characters you care more about. This holds true even in this latest film, which sneers cynically at society at the same time as it glances warmly at the individuals society consists of, while in the meantime all of its characters are so busy caring for people that they neglect to care for the ones closest to them.
But while the individuals eventually find their way back, society carries on unstoppable.
But I can happily report that he didn't.
There is no director, alive or dead, whose films make you feel more emotionally immersed than Moodysson. Nobody's characters you care more about. This holds true even in this latest film, which sneers cynically at society at the same time as it glances warmly at the individuals society consists of, while in the meantime all of its characters are so busy caring for people that they neglect to care for the ones closest to them.
But while the individuals eventually find their way back, society carries on unstoppable.