About me
Born in Düsseldorf in 1960 to a Swedish father and an Italian mother, my life was a collage of cultures, shaped by moves to new countries every few years. This nomadic childhood laid the foundation for my diverse artistic sensibilities. Read more
The Spark in Prague and Brussels
My cinematic awakening occurred at twelve in Prague, where the characters of Mario Monicelli’s “La Grande Guerra” and the epic landscapes of Sergio Leone’s westerns left an indelible impression on me. Little did I know, these directors who captured my imagination would later become my mentors at the film school in Rome. The screenings in the baroque chapel of the Italian Institute in Prague were more than just movie viewings; they were a journey into the heart of storytelling, a foreshadowing of my own path in cinema.
Student years in Brussels
At fifteen, in Brussels, my passion for film deepened under the tutelage of Madeleine Bourdouxhe. A Belgian author and teacher, she introduced me to the classics, igniting discussions that interwove cinema with literature and history. This period was marked by evenings spent at the “Musée du Cinema” and after-school sessions that broadened my understanding of the narrative arts.
I studied two years at the art school La cambre in Brussels. I followed courses in film animation, drawing and painting. The courses challenged all forms of visual media. My two years at “La Cambre,” experimenting with video installations, were a prelude to my eventual departure for Rome, a city where history breathed through its golden light. See my first film
Un après midi sur l'herbe
My first film: a super 8 short made in Brussels with my brothers and friends June 1978.
“Un après midi sur l’herbe,” my inaugural film venture, captures the essence of my early cinematic experiments in the late 1970s. Shot in Super 8 format, this piece offers a nostalgic glimpse into my initial forays into filmmaking.
The film features my young brother, garbed in white in a stylistic nod to the iconic characters from Stanley Kubrick’s “Clockwork Orange.” He moves towards the camera in slow motion, evoking a sense of surreal and deliberate pacing that characterizes the film. Upon reaching a group of my friends, he begins to take photographs, an action that blends the realms of still and moving imagery, adding layers of meaning to the scene.
This short film stands as a testament to my early exploration of cinematic language, drawing inspiration from influential filmmakers and integrating personal artistic elements. The use of slow motion, combined with the homage to Kubrick’s style, reflects a deep appreciation for film as a medium of both storytelling and visual experimentation.
Student years in Rome
At the “Centro Sperimentale di Cinematografia,” adjacent to the grandeur of Cinecittà, I found myself amidst the relics of a bygone film era, reminiscent of Dino Buzzati’s “Il Deserto dei Tartari.” Much like the protagonist in Buzzati’s novel, who was stationed at a remote fort waiting for a momentous event that never arrives, we students navigated the expansive and somewhat deserted halls of the school, a space echoing past cinematic glories yet seemingly paused in time. This atmosphere of suspended anticipation and the haunting beauty of the past was a constant backdrop to our search for a contemporary cinematic voice.
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Amidst the iconic sets of Cinecittà, we, the students, found ourselves regularly witnessing the mastery of directors like Federico Fellini, Ettore Scola, and Sergio Leone. These experiences weren’t just thrilling adventures but invaluable lessons in the art of filmmaking, watching the legends of cinema at work.
At the Centro Sperimentale di Cinematografia, under the mentorship of cinematic greats like Sergio Leone, Carlo Di Palma, and Glauco Pellegrini, my journey into filmmaking truly began. Engaging in projects like “Wind and love: progetto Manzù” and my exam film “Exit,” particularly under Leone’s guidance, were significant milestones. Yet, it was my eventual venture into VR cinema that marked a pivotal point in finding my unique filmic voice. This shift to VR wasn’t merely about changing the medium; it represented a profound evolution in my approach to storytelling, enabling me to convey narratives in a more resonant and expressive manner.
The first two years I collaborated in a collective film under the direction of my teacher Glauco Pellegrini.
Our film ”Wind and love: progetto Manzù”, became a two hours film about the Italian artist Giacomo Manzù. The film mixes together the most diverse cinematographic genres, from the documentary to fiction and even ballet. The film was presented at the 1982 Venice International Film Festival
I found a copy of the film on youtube. You can watch the film here
Exit, An Exam Film at Centro Sperimentale di Cinematografia in Rome
“Exit” explores the complexities of perception, culture, and generational differences through the lens of a middle-aged couple. Set against the backdrop of an unconventional experimental theater in a neighborhood unfamiliar to them, the film captures their escalating conflict as they leave the performance, debating what they’ve witnessed. Read more
The tension crescendos as they encounter a group of young people who have taken over their car, blaring music and dancing freely. The husband’s growing agitation, fueled by assumptions and prejudices, reaches a peak as they approach the car, bracing for a confrontation he believes is inevitable.
In a twist that challenges stereotypes and expectations, the young group peacefully returns the car, defusing the situation without conflict. This moment serves as a poignant commentary on the misconceptions and communication gaps that often define interactions between different generations and social groups.
Des rêves plein les poches, a documentary in Paris
The year after completing my studies at Centro Sperimentale, the connections I had forged there continued to bear fruit. With the guidance of Carlo Di Palma, a mentor whose insights were invaluable, I embarked on a new cinematic venture in Paris. This project, titled “Des rêves plein les poches,” was a documentary exploration of African dance, delving into the rhythms and movements that are as much an expression of culture as they are of art. Read more
Joined by friends from the film school, we immersed ourselves in the vibrant world of dance, capturing the stories and performances of four remarkable teachers: Eineida and Nilton Castro, Elsa Wolliaston, and Ahmed-Titjani Cissé. Shot in the evocative medium of 16mm, the film not only portrayed the dynamism and spirit of African dance but also reflected the diverse tapestry of human expression.
The documentary ‘Des rêves plein les poches,’ created in collaboration with friends from film school and centered on African dance, was a significant project that reflected the diversity and dynamism of cultural expressions. It was well-received and secured a place at the “Centre Pompidou” in Paris. This achievement was not just a personal milestone but also a representation of my commitment to exploring and celebrating different cultures through film. It underscored the early years of my career, characterized by a willingness to embrace collaborative projects and a passion for storytelling that transcends cultural boundaries.
Rome was an incredible place to be as a student, offering a “dolce vita” lifestyle alongside ambitious friends, always engaged in discussions about our future masterpieces. However, there's a phenomenon known as “the Rome sickness”: young artists often become so overwhelmed by the city's vast array of art and history that they find themselves creatively paralyzed. After six years in Rome, I faced a pivotal decision: to stay in Italy or move to Sweden.
My father had passed away ten years prior, and my proficiency in Swedish was minimal at best. Yet, I vividly remembered how he had sparked my interest in the arts, gifting me my first Super 8 camera and nurturing my passion.
My knowledge of Sweden was limited, but I was intrigued by tales of a Film Workshop located on an island in the heart of Stockholm, where one could freely create films. At the age of twenty-six, with five thousand crowns in my pocket and a resolve to forge a new path, I arrived at the Central Station in Stockholm, ready to embark on a new chapter of my life.
A New Chapter in Stockholm: Embracing Change, Community, and Cinematic Exploration
Leaving behind the golden warmth of Rome, I was greeted by the stark blue light of Stockholm—a visual metaphor marking a new chapter in my creative journey. This transition was not just geographical but also a conscious choice to honor the artistic legacy instilled in me by my father, steering my path towards uncharted horizons.
In Stockholm, the Film Workshop became more than a creative sanctuary; it was a crucible for my evolution as a filmmaker. Under the mentorship of Mihail Livada, surrounded by a community brimming with creative energy, I embraced the art of minimalist filmmaking. With simple VHS cameras, I produced over twenty short films and a feature, each project a testament to the power of storytelling with modest means. This period was one of exhilarating exploration, where ideas transformed freely into action, giving rise to innovative techniques in camera movement, composition, and narrative storytelling.
Following this experimental phase at Filmverkstan, my journey took a richer, more narrative-driven direction. From the mid-1990s to mid- 2000s, I directed three feature films, each marking a significant evolution in my artistic vision. These films—‘The Bitch Downstairs,’ ‘A Falling Dream,’ and ‘Before We Don’t See Each Other Anymore’—not only represented crucial phases in my career but also explored diverse themes of human connection, self-discovery, and the complexities of personal relationships. Read more
‘The Bitch Downstairs’ (2006) is a captivating blend of comedy and drama, unraveling a tale of unexpected friendships and cultural conflicts, set against the backdrop of everyday life. It challenges preconceptions and celebrates the unpredictability of human connections.
‘A Falling Dream’ (2000) delves into the surrealistic lives of characters seeking freedom and self-discovery, navigating through personal ambitions, creative conflicts, and the elusive nature of truth.
‘Before We Don’t See Each Other Anymore’ (1994) explores the fragile dynamics of friendship and love, capturing the poignant transitions from youth to adulthood, probing the depths of loyalty, desire, and the defining choices of life.
Together, these films form a trilogy that reflects the breadth of my early cinematic explorations, setting the stage for my eventual foray into the immersive world of VR cinema. Each step of my journey, from the vibrant streets of Rome to the creative pulse of Stockholm, has been a move towards realizing the profound stories that can be told through film, regardless of the means at one's disposal.
Feature films I have directed
Before we don't see each other anymore
In the last summer together, four friends agree that they’ll always be in touch, however already feeling that they are gliding apart. Read more
They are actually testing the thin line between love and friendship. Rosemary makes love with Omar in the apartment she shares with her boyfriend Mathias. Mathias discovers them when he comes in very early in the morning, kissing Isabelle. They are now rivals but do not want to let go of each other.
Omar is on his way to Turkey for military service but acts like he is off for vacations. Rosemary feels betrayed. Isabelle and Mathias want to make a morbid exhibition about death. But they need a corpse, where to find one? Isabelle works for home help service and knows that an old man that had suddenly died in his apartment. She seduces Mathias to the idea to go there and together take macabre pictures of the dead man.
Later Mathias meets old friends. They decide to steal a sailing boat, hide a young Rumanian refugee from the police and offer him a refreshing summer vacation in the Swedish archipelago. But as usual in this story, nothing turns out as planned and new complications arise.
Production: Indie Productions, dimarzo productions, Filmverkstan, Filminstitutet - 1994
A falling dream
A drama with surrealistic touches about two women struggling for freedom and a stranded film team shooting a film.
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Lorena’s last hope to get her father’s attention is staging a fake kidnapping in the woods with the help of her boyfriend. When the police get involved and start a massive search, Lorena decides it’s time to find her father for a confrontation. She hurries in the middle of the night on a country road when suddenly a car stops and a man tries to rape her. In self-defense, she kills him with her pocketknife. Then she actual disappears and her boyfriend is forced to go alone to the police and explain about her real disappearance.
A team, shooting its film in the woods, is in crisis. The team’s strongest members have different versions of what really happened with Lorenas disappearance and want to change the script.
Meanwhile, there is another woman; she is struggling alone against the wishes of her family. She has secretly applied to an art school in Paris and has been accepted. But nobody takes her artistic aspirations seriously and her decision to follow her dreams falls like a bomb. Her parents exert emotional pressure and her boyfriend gets violent. Suddenly, she gets help from Lorena formerly disappeared in the woods, and now mysteriously back.
Production: Scenario Film, Sandino Hus, dimarzo productions, Filminstitutet - 2000
The bitch downstairs
At the heart of the story is the pensioner Magda, a skeptical woman with strong views about everything and in daily conflict with her neighbors. Read more
Her life is turned upside down the day she finds 23-year-old Dana in the basement. Dana is an emigrant fleeing from the police and her family. Against everyone’s expectation, Magda takes her under her wings. But it turns out to be trickier than Magda could have imagined. Old friends suddenly become enemies and enemies become friends. Soon she is doing things she would never have dreamed of doing a few weeks ago. While Magda is forced to reassess her life, Dana’s dark past is catching up.
An engaging comedy with strong characters, difficult relationships and unexpected culture clashes.
Production: Projektbyrån Orkano, Triangelfilm, dimarzo productions, Filminstitutet - 2006
Collaborative Ventures and Intergenerational Dialogue
My journey took a collaborative turn with my second feature film project, sparked by a meeting with a group of young people in a Stockholm suburb. Proposing a communal approach to filmmaking, we decided to collectively write the script in an open forum. This unconventional method quickly attracted a diverse group of over thirty individuals, each bringing their unique ideas and perspectives. Amidst the creative chaos, I developed a technique to distill and weave these myriad thoughts into a coherent narrative. This process culminated in the creation of “A Falling Dream,” a project that spanned two years and reflected not just a story, but the voices of an entire community.
It took us two years to create the film “A falling dream”.
I had become a quite proficient fundraiser with a budget that allowed us to buy all kind of books about cinema and go to see the classics. It was great to see the teenagers discover the film masters and to be inspired by them and strive for an artistic vision for our film.
After the success of “A falling dream” we wanted to continue to work together, so we contacted group of pensioners in another suburb and soon became a big group again.
It was truly a sight to see two different generations, the young between 20-25 years and the seniors between 70-85 years; all passionately arguing and compromising, equally devoted to creating a great script to the film “The Bitch Downstairs”.
This time we decided this to write a more conventional script and have a professional cast.
After almost two years of scriptwriting, we had professional actors joining the group. We also found a distributor that believed in the project, but it took us three more years before we had our film showing in the cinemas all over Sweden.
Documentary about Manusgruppen
The documentary was filmed and edited by the group memmbers summer 2000.
A Journey Through Experimentation: My Films at Filmverkstan
In the heart of Stockholm’s vibrant film community, the Film Workshop (Filmverkstan) served as my crucible of creativity. It was here, inspired by the mentorship of Mihail Livada and the dynamic energy of fellow filmmakers, that I embraced the art of minimalist filmmaking.
Armed with simple VHS cameras, I embarked on a journey of cinematic exploration, producing over twenty experimental shorts. Each film was a venture into the realm of visual storytelling, where the constraints of modest equipment became a canvas for innovation. These shorts encapsulate a period of my career marked by unbridled creativity and experimentation.
From exploring unconventional techniques in camera movement and composition to crafting narratives that push the boundaries of traditional storytelling, my time at Filmverkstan was a testament to the power of storytelling with minimal resources. The films produced during this period are not just works of art; they are milestones in my evolution as a filmmaker, each one reflecting a unique aspect of my artistic voice. Read more
Embracing the Unconventional: My Journey with VHS
In the vibrant and evolving landscape of filmmaking at Filmverkstan from 1986 to 1994, I found myself drawn to an unconventional tool: the VHS camera. While my peers focused on the more traditional 16mm cameras, I saw potential in the VHS format. This choice allowed me to explore and experiment with a medium often considered ‘amateur’ in the professional realm of cinema.
However, this decision came with its own set of challenges. Two decades later, it became evident that these early works, created with passion and innovation, were overlooked by institutions like The Swedish Filmdatabas. Their criteria, which prioritized traditional formats and festival recognitions, did not encompass the artistic value of works produced in VHS format. This exclusion reflects a broader conversation in the film industry about what constitutes ‘professional’ work and the evolving nature of film technology and formats.
While these films may not have received the traditional accolades or recognition, they represent a critical phase of my artistic development. They stand as a testament to my willingness to embrace unconventional paths and to prioritize creative expression over conventional standards.
This period of my career underscores a fundamental belief: that the essence of filmmaking lies not in the format or equipment used, but in the power of the story being told and the vision behind it.
Embedded below are these experimental shorts from my days at Filmverkstan. Witness the early stages of my filmmaking journey, where each piece serves as a window into a world of creative discovery.
Woman with ice cream
A simple scene of a woman enjoying ice cream evokes comparisons to Mona Lisa, underscored by J.S. Bach’s First Suite for Violoncello Solo performed by Matthieu Fontana. Duration: 3 min, Filmverkstan 1987.
Experimental videos with irrational story structures
Between the years 1986 -1994 I directed twenty shorts and a feature film at the film workshop Filmverkstan.I experimented a lot with camera movements, image composition, and irrational story structures. Therefore most of my video productions from that time have no conventional stories
These films were created in a time before the internet era. Out of respect for the privacy of everyone involved, and to avoid unintentional search engine connections to my films, I have deliberately chosen not to list the names of the contributors. This decision is rooted in a commitment to maintaining the privacy and preferences of all individuals who played a role in these early works.
Vagalors
A summer night in a Nordic archipelago when the sun never goes down, we witness a woman torn by two men. The triangle drama is mute, a tribute to the early silent movies 3 min
The Midas garden
With the “labyrinth” as a model, we follow characters entangled in visual landscapes. The editing deliberately leaves gaps in the story to give the viewer the possibility to create his own interpretations. 11 min
Silence of memory – memory of silence
The “Appia Antica” is an ancient road built by the Romans thousands of years ago. Among the ruins we meet a stranded couple that has run out of gasoline, two men arguing about a sandwich and a man who talks about time.
12 min. The film is in Italian.
The Palagonia game
A “sound collector” confesses being in crisis after meeting a rival with a completely different approach to sounds. Original music by Fredrik Sievert. 11 min
Vichy, where are you?
We follow two people, a woman in her apartment and a musician with his band. They don’t know each other, but later in the evening, they’ll share a common experience. 20 min
Diagora
The camera moves like a fish in the aquarium, observing a woman troubled by images of her father. On a regular basis, the screen turns black and we are alone with original music by Fredrik Sievert. 8 min
Desire is Other
Love and hate between two enigmatic characters. Kidnapping and murder seems to evolve around a complex relationship. The film runs backwards, starting by the end and progressing scene by scene to the beginning.
8 min
Lovers silence
Experimental film with my friends shot 1988 in Stockholm. A man reads a poem from about a concentration camp, accompanied by a piano improvisation. 4 min
Abaissement du niveau mentale
An experimental film filmed in Stockholm 1988. The atmosphere is dense and dark. 4 min
Exploratory Films: A Fusion of Music, Machinery and Motion
n this unique series of experimental films, we ventured into the captivating environment of a shipyard, blending the industrial grandeur of machinery with the artistry of music. These films feature enchanting performances of a woman playing a cello and a friend on the saxophone, set against the backdrop of massive shipyard machines. The juxtaposition of delicate musical notes with the robustness of industrial equipment creates a visually and audibly intriguing experience.
Paradox Paradis
My debut film at Filmverkstan in 1986 captures a sensual exploration of Jean Tinguely and Niki de Saint Phalle’s sculpture “Le Paradis fantastique,” accompanied by Glenn Gould’s Goldberg Variations.
Spirit Mercurius
Inspired by Carl Jung’s alchemy studies, this film offers a contemplative examination of an ancient oak, revealing alchemical symbolism.
Music by Mihail Livada.
Finnboda shipyard with a cellist
Finnboda shipyard with a saxophone
Light and darkness
Friday night improvisations
In three of these films, we embraced the spontaneity of improvisation, meeting over weekends to experiment with in-camera direct editing. This approach allowed us to capture the raw energy and creativity of the moment, resulting in dynamic and unfiltered cinematic pieces.
These experimental works stand out for their daring approach to filmmaking, as we played with camera angles, movements, and perspectives to capture a unique blend of music, motion, and industrial aesthetics. These films represent a period of bold experimentation and creative freedom, pushing the boundaries of traditional filmmaking techniques.
Etyd 1
What are you thinking about?
Etyd 2
Film scripts
During the years 2007-2013 I have written two screenplays for two feature films I intended to direct. Unfortunately I did not find the necessary financial resources to produce the films and in the end, I gave up and I decided to take a new direction. I swore to myself to only start new projects where I would be completely independent from the start. When I discovered Blender I found my new direction!
First film: A PACKET TO SAN BARILLO
A Swedish family travels to Italy with the ashes of their son’s babysitter, recently deceased. When they arrive at the destination, no relatives of the girl are waiting for them. They have come to a monastery inhabited by five old nuns and three young prostitutes hiding from their past.
The family stays in a cottage in the convent’s garden. The mother has to help her young son to overcome the guilt he bears for the girl’s death.
The Swedish woman who is an office manager gets confused. She loses prestige in her meeting with the women in the convent, but in return discovers new areas of the world and of herself. For the boy, the monastery is a dangerous and magical place where anything can happen and has an own agenda that he is determined to complete.
Two-thirds of the movie was to be shot in Apulia in southern Italy. There is a historical link between Apulia and Scandinavia. Few know that the Vikings also arrived in southern Italy. A hundred Vikings came from Normandy in search for adventures. Their courage and spirit of adventure had no boundaries. They ruled for five generations and the last of them: Frederick II was crowned November 22, 1220, as Emperor of the Holy Roman Empire. Twenty-eight years old, he was Europe’s most powerful man, and during his reign, culture flourished. He created the first universities in medieval medicine and the law and was in a constant feud with The Pope.
Second film: EX MALO BONUM
A process-server rings the door to three different homes with a notice of seizure. In the first home, the librarian accepts it and she gets evicted. In the second home, the newly retired couple contests the claim. In the third case, a car salesman tears up the debt collector’s mandate. Complications arise.
The librarian who accepted the eviction wanders in the city and seems to have lost the perception of reality. The retired couple that contested realizes that the past has caught up with them and someone wants to hurt them. The salesman who tore debt collectors’ mandate must tell the truth to his partner, that he has been doing a reckless business and that in eight hours they will be evicted.
Ex Malo Bonum means in Latin “from evil arises good.” The characters in the movie are forced to enter unknown territories. Time slows down to slow motion and gravity pull them slowly down towards the abyss – but they discover new sides of themselves and finally fly off the ground. I struggled hard to find financing for my films but this time I did not succeed.