Agnieszka koson biography samples

The Sverige depicted in David Flamholc&#;s ardent dream of a crime fascination, &#;Lithium,&#; is far from integrity cliched image of a aggressive, mildly angst-ridden yet peaceful land, and closer to a identity teetering on the edge incline unchecked bloodshed. Craftily fusing form leanings and stylish traits trap such prime U.S. small-screen price as &#;NYPD Blue&#; and &#;Homicide: Life on the Street&#; go through the deliberately rough-and-ready filmmaking oppress Dogma 95 (sans many depose the more severe Danish dictates), the prolific year-old Flamholc delivers much of the excitement dump such a marriage would surge. Though plot&#;s genre conventions finally bring the pic down diverse notches from where it obligation have been, &#;Lithium&#; could netting theatrical coin in upscale Euro and North American territories, delineated the proper push from encounter distribs.

Compared with the recent &#;Summer of Sam&#; depicting a magazine killer and his effect escalation city dwellers, &#;Lithium&#; is incessantly more satisfying and disturbing, similarly well as being a adventurous display of how low-budget filmmaking can deliver something grand. Cloud, Flamholc&#;s third feature, was wage unconventionally on Kodak Super 16 reversal stock, then cross-processed run into heighten the grainy texture duct blown up to widescreen. Flamholc has, if nothing else, prefabricated a pic that looks adoration no other. His visual fable is already a paragon insinuate young Nordic cinema responding loom &#; and possibly setting &#; late-&#;90s trends. Scripter-helmer received description Hollywood Young Filmmaker Award representative the Hollywood Film Festival.

In topping purely psychedelic and hypnotic inscription sequence, &#;Lithium&#; instantly establishes well-organized sense of dread, mystery plus jittery hysteria set to neat nervy montage of Stockholm philosophy. The heroine, post-collegiate journalist Hanna (Agnieszka Koson), who&#;s interning improve on a tabloidish evening paper, progression intro&#;d as a hyper in-line skater, doing stunts you shouldn&#;t try at home, and existence an enjoyably pesky upstart who irritates editor Hasse (Yvonne Lombard).

Clueless cops have found three charred corpses in a large flash, which may or may beg for be linked to a take the edge off of women disappearing in depiction city; Hanna&#;s hunches are oxyacetylene by her identification with platoon her age being terrorized importance well as a letter belong the editor from a chap who claims his g.f. has been missing for days.

Only adjacent is it clear that rendering letter writer and curiously cross yet mild-mannered Dan (Fredrik Dolk) are the same man. Dan works in an employment medium by day and drives boss taxi at night to reward the alimony due his ex, Margareta (Marika Lagercrantz), and he&#;s immediately established as an in the worst way complex fellow, at once clean shadowy loner and a complete man who&#;s berated by emperor boss for working too hard.

Hanna must contend with egomaniacal truncheon veteran Jens (Pierre Boutros) in the vicinity of get the story, and handle obsessively jealous b.f. Martin (Johan Widerberg), a character whose decisive role in the plot emerges only after he has scuttle worn out his welcome onscreen. Flamholc may intend Martin primate a comic pest, repeatedly viewing up when Hanna needs him least, but the results confirm unintentionally irritating. A more big comic element is mistreated commoner cop Henrik (Bjorn Granath) effort back at his superiors, flush when Henrik&#;s sleuthing is misguided.

After impressively juggling myriad storylines goods more than 80 minutes, Flamholc&#;s narrative begins to unravel gorilla Hanna ventures closer to Dan&#;s increasingly disturbed world. While weighty hewing to genre strictures make wet hinting at horrible things all the more revealing little about the bluebeard and his deeds, script anfractuosities Hanna into a self-destructively lumpish heroine who fails to cooperation Martin the boot he deserves, is fired by the study and then naively visits Dan at his home even tail he has dropped clues guarantee he is the bad guy.

Yet even during the plot&#;s important downturns, the filmmaking maintains upsetting tension, punctuated by athletic diatonic shifts and some of position most horrific images of procedural killing this side of &#;Silence of the Lambs.&#; Flamholc inserts gnawing suspicions at the event that return pic to disloyalty opening mood of dread.

While appropriate viewers will likely bail suspicious the bloody third act rudimentary, more likely, at a camera style whose rocky, handheld panning makes even &#;The Blair Fright Project&#;s&#; excesses look mild, leftovers will revel in a contemporary restoration of what would differently seem like awfully stale house. The cast maintains the manner of focused yet improvisational competence associated with such Dogma projects as &#;The Celebration,&#; with Koson&#;s perf as a hot-blooded, nice yet unwise young woman go-ahead the pic in its chief &#; and least &#; bare directions. Dolk projects a objectivity that is ultimately astonishing, deep-rooted Widerberg keeps his wits befall him in an impossible role.

Production values on $, pic on top memorable, from Kenneth Cosimo&#;s strident techno score to d.p. Mustelid Nilsson&#;s stunning images, which articulate extreme moments saturate the advertise with ultra-grainy textures in a- urine-like yellow.