Gitarrmongot

The influence of Roy Andersson and his everyday tragicomic fragment is strong, but Östlund replaces the theatrical stylization and make-up with a very clear social background and documentary realism. Loosely intertwined anecdotes from Gothenburg everyday life point to the "parallel reality" of a strictly organized Swedish society, which is represented here by both a mongoloid boy with a guitar who does nothing, and a gang of bicycle destroyers. The storyline with a mentally handicapped lady who searches in vain for her bicycle, only to eventually find it strung on a lamp, has everything in it that makes Östlund Östlund. Poetry of life futility translated into the language of everyday life. (16/07/2017)

Je m'avance à dire et je parierais que si cent personnes voyaient Gitarrmongot et Sans filtre sans connaître le contexte, pas plus d'une personne sur les cent dirait que les deux films ont été faits par le même réalisateur. Pour moi, ça évoquait surtout Happy Sweden, mais sans thème unificateur. Insupportable pour beaucoup, tolérable pour moi. (25/03/2024)