In 2021, Stockholm goes physical again, awards Jane Campion a career prize and dedicates a section to the theme of motherhood

– As Sweden lifts pandemic restrictions, November’s 32nd Stockholm Film Festival promises to be a euphoric celebration of cinema

This article is available in English.

As of 29 September, Sweden has lifted most of its COVID-19 restrictions, allowing full indoor gatherings again. At this handy time to be bouncing back from a dampened 2020 edition, marred by audience limitations and other restrictions, the Stockholm International Film Festival presented the program for its 32n/a edition this Tuesday. “Back to normal” was the key message, and not without a feeling of euphoria, festival director Git Scheynius confessed as she and program coordinator Beatrice Karlsson unveiled the different sections and events that will play out between 10 and 21 November. Exactly 100 films from 48 nations will be screened for full, physical audiences while also being available as streaming options for the whole country to enjoy. “Times have been strange, but there have been some creative ideas to pick up and hang onto along the way,” Scheynius duly noted.

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Brimming with A-list festival favourites, the gathering will host the Swedish premieres of Paolo Sorrentino‘s The Hand of God [+lire aussi :
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, Pablo Larrain‘s spencer [+lire aussi :
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, Jacques Audiard‘s Paris, 13th District [+lire aussi :
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, Nadav Lapid‘s Ahed’s Knee [+lire aussi :
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, Francois Ozon‘s Everything Went Fine [+lire aussi :
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, Giaseppe Tornatore‘s Ennio [+lire aussi :
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, Leos Carax‘s Annette [+lire aussi :
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and Maria Schrader‘s I’m Your Man [+lire aussi :
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, among other recent Berlin, Cannes and Venice luminaries. Opening the festival is Parallel Mothers [+lire aussi :
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by Pedro Almodovar (also the designer of the logo for this year’s festival poster – sporting a curiously eye-like image that turns out to be a lactating nipple), while Joachim Trierthe recipient of this year’s Visionary Award, will present his new film, The Worst Person in the World [+lire aussi :
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. The other main laureates are Robin Wright and Kenneth Branaghboth being given the Stockholm Achievement Award and showing their latest directorial works – respectively, Land and Belfast [+lire aussi :
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. The Lifetime Achievement Award of 2021 will go to Jane Campionwhose The Power of the Dog [+lire aussi :
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will get an appropriately grand gala screening.

Among the contenders bringing their first- to third-time directorial efforts to the official Bronze Horse Competition, the program presenters highlighted Maryam Moghadam and Behtash Sanaeeha‘s Tribeca entry and Zurich winner Ballad of a White Cow [+lire aussi :
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, Rachel Lang‘s Foreign Legion story Our Men [+lire aussi :
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and Jonas Carpignano‘s mafia drama To Chiara [+lire aussi :
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interview : Jonas Carpignano
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, both of the latter having played in the latest Cannes Directors’ Fortnight. Also entered in the same Cannes section was former Stockholm Film Festival volunteer Nathalie Alvarez Mesennow a competing director at this very same festival with her acclaimed feature debut, Clara Sola [+lire aussi :
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.

The moniker of this year’s special spotlight theme (in keeping with the Almodóvar logo as well as his new film) is “motherhood”. Thirteen titles will be showcased, including Charlotte Gainsbourg‘s Jane by Charlotte [+lire aussi :
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and Blerta Basholli‘s Sundance winner winter [+lire aussi :
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. A smaller number of guests will be in town, with a sizeable array checking in digitally, while the festival’s Industry Days will take place from 16-18 November, once again promising to get back to normal with a full slate of activities. “After a year of what-ifs, maybes and possiblys, we really couldn’t have had a better outcome,” Sheynius mused contentedly. “And there’s hand sanitiser available for each of the 250 screenings – just so you know,” Karlsson assured those watching.

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In 2021, Stockholm goes physical again, awards Jane Campion a career prize and dedicates a section to the theme of motherhood