fucking-amal.com

nanostuff wrote:This needs a research grant trying to make sense of why it's so much more captivating than any other love film. Bizarro human emotional engine.

Is it already executed.
http://freenet-homepage.de/what-its-all-about/

How could I forget the scene where she flips out on the "palsied cripple"... Horrible, but she's so gorgeous when mad.

Oh, and one more thing. The word "please" is no longer in my vocabulary. Snälla or bust.

This got mentioned a few times, but it's a kick ass scene where Elin says Vadå, får allt det som jag vill? Vad vet du om det? Vad fan vet du om det? while Broder Daniel starts playing in the background and then we see Elin lying on her bed with music playing loud.

Then of course the coming-out scene, the kiss and the balcony scene (like Romeo & Juliet).

Other scenes worth mentioning: Elin "confessing" to her mother that she's a lesbian, Elin picking up the phone hoping it's Agnes, Elin arguing against Markus & Johan on stereotypes and tons of others.

MSandt wrote:Other scenes worth mentioning: Elin "confessing" to her mother that she's a lesbian,.

That's a very subtle, clever little moment, isn't it? Her mother clearly doesn't give it a second thought after she says "Only joking", because she's clearly so used to Elin coming out with some crazy statement just to get a reaction... but it's almost like Elin is testing the water, so to speak. And seeing how it feels to say it out loud, to herself.

MSandt wrote:This got mentioned a few times, but it's a kick ass scene where Elin says Vadå, får allt det som jag vill? Vad vet du om det? Vad fan vet du om det? while Broder Daniel starts playing

Uh... ehm... she says what?
Can I have a little translation here to understand the scene?
thanks!

codyw1 wrote:but it's almost like Elin is testing the water, so to speak. And seeing how it feels to say it out loud, to herself.

Yeah, that's what I thought, a good point, that she's saying it to herself, not to test the mother.

bruno wrote:Can I have a little translation here to understand the scene?

Oh, it's "What, I get everything I want? What you know about it? What the fuck you know about it?"

MSandt wrote:Oh, it's "What, I get everything I want? What you know about it? What the fuck you know about it?"

Ah, it is something like: "Come sarebbe che ottengo quello che voglio? vorrei capire che cazzo ne puoi sapere tu di me."


Yes it's a strong scene. I liked it very much. Even more, the scene from the phone call to the broken window. In both, it's the music a good part of the scene' strength.

Epic bump!

Anyway, for me the quintessential scene in the entire film is the scene in the back of the Saab. Their defenses lowered after the bridge conversation, Elin's and Agnes' brief dialogue culminating in the kiss is so powerful that it's nearly overwhelming. I don't understand Swedish, but I could listen to this segment ad infinitum:

"Asså, hvara fan håller vi på med. Vi är fan inte kloka i huvvet."
"Nej, jag vet."
"Men vi är så jävla coola!"

The girls' nervous energy punctuates their every syllable. When 'I Want To Know What Love Is' elevates beyond the car stereo, we too are caught up in the flood of emotion that overtakes the girls. This is the moment when the hair on my neck stands up and my eyes begin to well up. I love Moodyson's use of the music to further immerse us into the scene.

(It reminds me of a scene from Dark City (1998). For those who have seen Dark City, it's the moment when John Murdock kisses Emma at the police station (time stamp 3:46 of this clip from the OST) ). Although these films are not alike (except that they are both tremendous), the director's use of the soundtrack/score to draw the viewers further into the story is remarkable.

My other favorite scenes are not really "scenes" in the tradition sense - more like "moments".

• I love when Agnes sneaks those glimpses of Elin in the hallway at school.
• I love the look on Elin's face in her dream when she sees Agnes and Agnes strokes her hair.
• I love when Elin is alone on the bridge contemplating what she needs to do.
• I love when Elin is lying on her bed (looking contemplative again) just before she goes to Agnes' house.
• I love when Elin's urgency when she sees Agnes get up from lunch and that she completely ignores her friends ("Where are you going?")
• When Agnes strokes Elin's hair just before coming out.

I think I am in full obsession mode. 12 years is not too late, right? This is a phenomenal film.

Irishman wrote:...12 years is not too late, right? This is a phenomenal film.

Absolutely.

I agree with every scene you've said, plus about 10,000 others. They're all my favourite.

Close to my all time favourite is that lovely little nod of Agnes' head when Elin asks if what Viktoria said is true.
So beautiful.

I even love she scene where Elin ditches Johan.
I mean, ringing Markus' mobile from the next room so she can tell him it's over.
That's got to be the most cruel break up ever. Classic.

Beautiful choices. And no, Irishman, it is NEVER too late!

fish wrote:Close to my all time favourite is that lovely little nod of Agnes' head when Elin asks if what Viktoria said is true.
So beautiful.

Agreed. I love Elin's slow 'aaah' before the open the door.

fish wrote:I even love she scene where Elin ditches Johan.
I mean, ringing Markus' mobile from the next room so she can tell him it's over.
That's got to be the most cruel break up ever. Classic.

I remember laughing out loud in the theatre at that moment, especially since it was right after Elin said both of the guys were stupid.


I forgot about this in my prior post, but I love watching Elin's body language once she and Agnes open the door. She is just beaming with confidence on her face, also especially in the way she walks. She draws attention away from everything else on the screen. (I'll make a point next time to watch Agnes during this scene, because I am probably missing something dynamite).

Irishman wrote: Agreed. I love Elin's slow 'aaah' before the open the door.

i'd probably need local advice on this (wake up Magnus and triddy!:Z ) but I believe this is a typical Swedish conversational trait which throw many who learn Swedish and attempt to practice in Sweden. It sounds like something is being said but isn't. A kind of conversational bridge. In Danish it is usually marked by intake of breath unlike Swedish where it it is exhaled.

It's a little like the Americans punctuate the beginning of a sentence when they haven't worked out what to say by saying ''Errrrrrr ....'' or the English humm "Mmmmmm'' (sounds like agreement even though they violently disagree with what youve just said! )

Very authentic anyway

I have mentioned this before, a long time back, probably on another thread.

It's not a fave scene necessarily, but a very VERY difficult one that I think marks out Alex as a true professional actor.

It comes in the reconciliation scene when Elin revisits Agnes to apologize. She has to transition between asking Agnes close personal questions / realising she's overstepped the mark / probably embarassed Agnes / shown herself to be an idiot / reflects silently for a few seconds on the dilemma / suggests that maybe SHE should go home / more reflective silence and displacement activity with her hands / turns it around by suggesting they go to the party at Christians.

it is barely 30 seconds long.

Not many 14 year old actors would be capable of handling a dramatic transition like that convincingly. It's a tough call. Try it yourself in front of a mirror.

snaps wrote:I have mentioned this before, a long time back, probably on another thread.

It's not a fave scene necessarily, but a very VERY difficult one that I think marks out Alex as a true professional actor.

It comes in the reconciliation scene when Elin revisits Agnes to apologize. She has to transition between asking Agnes close personal questions / realising she's overstepped the mark / probably embarassed Agnes / shown herself to be an idiot / reflects silently for a few seconds on the dilemma / suggests that maybe SHE should go home / more reflective silence and displacement activity with her hands / turns it around by suggesting they go to the party at Christians.

it is barely 30 seconds long.

Not many 14 year old actors would be capable of handling a dramatic transition like that convincingly. It's a tough call. Try it yourself in front of a mirror.

I also love the prelude to this when Elin is talking to Agnes who is on the balcony. Then I love that Moodysson actually shows us Elin pretending to use the toilet, the paper, and the sink (where I think a lesser director would have just cut to Elin exiting the bathroom).

Honestly, the segment of the film that starts with Elin tossing stones at Agnes' window and ends with Elin waking the next morning is some of the finest dramatic filmmaking in the past 25 years.

Watching the film again yesterday, I am so impressed with Alexandra's acting. Her face is so expressive. Starting from the penultimate scene when she is sitting (distracted) at the lunch table waiting for Agnes to get up until she and Agnes leave the building, I just love watching her face. I love how she nervously looks up and down at Agnes repeatedly when she is making her profession. I love how stressed she looks when she is confronted with the idea that she won't be able to keep everyone from knowing she's in there with Agnes. It is just so authentic.