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Beyond Dreams

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Beyond Dreams
Promotional poster
SwedishDröm vidare
Directed byRojda Sekersöz
Written byJohanna Emanuelsson
Produced by
Starring
CinematographyGabriel Mkrttchian
Edited by
  • Linda Jildman
  • Hanna Storby
Music byLisa Holmkvist [sv]
Production
company
2afilm
Distributed by
  • NonStop Entertainment
  • Pluto Film
Release dates
  • 28 January 2017 (2017-01-28) (GFF)
  • 17 March 2017 (2017-03-17) (Sweden)
Running time
90 minutes
CountrySweden
LanguageSwedish

Beyond Dreams (Swedish: Dröm vidare) is a 2017 drama film directed by Rojda Sekersöz and written by Johanna Emanuelsson. The film stars Evin Ahmad as Mirja, a young woman recently released from prison, who is torn between her lifelong friends (Gizem Erdogan, Malin Persson [sv], Segen Tesfai) and her struggling family (Outi Mäenpää, Ella Åhman). Agneta Fagerström [sv] and Annika Hellström produced Beyond Dreams through their company, 2afilm, with financial support from Filmpool Nord, STHLM Debut, and the Swedish Film Institute.

Emanuelsson and Sekersöz, both graduates of the Stockholm Academy of Dramatic Arts, developed the film together after being approached by the producers. It served as Emanuelsson's debut as a screenwriter and Sekersöz's debut as a feature film director. Filming took place during the summer of 2016 in Alby, Botkyrka (the film's setting) and in Luleå. It was described by the creators as a political work that explored themes of friendship, loyalty, and identity. The film has also been analysed as a commentary on caregiving and motherhood within the Swedish welfare state.

It premiered on 28 January 2017 at the Gothenburg Film Festival, before a theatrical release in Sweden on 17 March. In addition to opening the Lübeck Nordic Film Days festival on 1 November, it was also screened at Berlin Feminist Film Week and at TIFF Next Wave in Toronto the following year. The film received generally positive reviews from critics, with particular praise for the direction, writing, and the cast's performances, especially Ahmad's. Beyond Dreams was listed as one of the ten best Swedish films of 2017 by film editors at Dagens Nyheter. It won several awards, including the Church of Sweden's Film Prize, the Audience Dragon Award for Best Nordic Film, and the FIPRESCI Prize at the Norwegian International Film Festival. Sekersöz earned a Guldbagge Newcomer Award for her work on the film. Ahmad and Erdogan were both recognized with Guldbagge nominations, for Best Actress in a Leading Role and Best Actress in a Supporting Role, respectively.

Plot

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After being released from prison, Mirja is greeted by younger half-sister Isa and her close-knit group of friends: Sarah, Emmy, and Nina. Mirja was jailed after being caught in the group's failed robbery, a plan hatched so they can move to Montevideo. The group plots another heist, this time targeting a jewelry store. Mirja moves back home and clashes with her mother Sirkka, who gives her an ultimatum to sort out her life. Despite the planned robbery, Mirja secretly looks for legitimate work. Frustrated by bureaucratic red tape at the job assistance center, she approaches hotel owner Paul Lilja directly, who offers her a trial job washing dishes. Mirja discovers a letter revealing Sirkka has advanced COPD.

After a promising start in the kitchen, Paul offers Mirja a permanent position in room service. The job offers higher pay, but he wants to pay her under the table. She accepts, begins working with Edit, and learns to take pride in her work. Her friends do not understand and show up to the hotel to confront her. Sarah mocks her for cleaning up after “rich pigs", and the two nearly get into a physical fight.

After Sirkka is admitted to the hospital, Mirja has no choice but to covertly bring Isa to work with her. On impulse, she applies a guest's false eyelashes. Unbeknownst to her, Isa also steals an expensive watch. The guest returns to the room unexpectedly and sees Mirja wearing the eyelashes. Paul fires Mirja and refuses to pay her for the last several days of work. At home, Sirkka finds the watch and assumes Mirja stole it, culminating in a violent argument where Sirkka kicks Mirja out of the house.

Desperate and now homeless, Mirja confronts Paul, returning the watch and again pleading for her job back. He refuses; she attacks him in frustration and leaves, after crossing paths with a betrayed Edit. Mirja sees her old friends partying and crashes their night out, getting belligerently drunk. Sarah intervenes, and the group lets her stay with them to sleep off her hangover. They pressure her to decide if she will participate in the jewelry store heist. Mirja agrees to help, but backs out the last minute as she sees Isa walking alone at night. Isa reveals Sirkka has been re-admitted to the hospital. They go to find her, but Sirkka dies. Setting aside their recent conflicts, the friends show up to support Mirja at the funeral. Afterwards, Mirja breaks down in tears, as Isa and her friends comfort her.

Despite Mirja not following through with the heist, Sarah surprises her with tickets to Montevideo, for both her and Isa. Mirja declines, choosing to stay and care for her sister and stating she does not want to run from her past. The two end on good terms. In the final scene, Mirja and Isa enjoy each other's company on a rooftop.

Cast

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Production

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Development

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The producers of Flocking (2015) — Agneta Fagerström [sv] and Annika Hellström — approached screenwriter Johanna Emanuelsson about writing a feature film. She suggested Rojda Sekersöz as director, and the duo then began working on ideas. Sekersöz and Emanuelsson knew each other through Revolutionary Communist Youth and both had graduated from the Stockholm Academy of Dramatic Arts. Beyond Dreams served as Sekersöz's debut as a feature film director and Emanuelsson's debut as a screenwriter.[1] Sekersöz previously worked with lead actress Evin Ahmad before she was cast in Beyond Dreams.[2] In an interview with Nordic Women in Film, Fägerstrom said that Beyond Dreams was inspired by La Haine (1995).[3]

The project was announced in 2016 as a "coming-of-age film about adult women", with support from Filmpool Nord and STHLM Debut.[4] The budget was 10.2 million SEK, with Fagerström characterising the film as a low-budget project.[5] 4.5 million SEK of funding came from the Swedish Film Institute.[6] Beyond Dreams was produced through 2afilm, a company co-founded by Fagerström and Hellström.[7] It was the second feature by 2afilm; their first was Flocking (2015).[3]

Image of multi-unit residential building in Alby, Botryka
Beyond Dreams was set and partially filmed in Alby, Botkyrka.

Filming, post-production, and music

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The film was set in Alby, Botkyrka; it was filmed both there and in Luleå, for 10 and 22 days, respectively, during the summer of 2016.[8] Some scenes were shot at the Luleå stadshotell [sv].[5] While filming at the hotel, a fog machine associated with the production triggered a fire alarm, but the fire department was not needed.[9] Gabriel Mkrttchian served as the director of photography.[10] Linda Jildman and Hanna Storby edited the film.[11]

Lisa Holmkvist [sv], who had previously won a Guldbagge for Best Original Score for her work on the 2afilm-produced Flocking, composed the score.[12] The soundtrack also featured "Easy" by Seinabo Sey, as well as two songs by Melina Florides: "This Time" and "If It Takes Two."[13]

Themes

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Beyond Dreams was noted for its focus on female friendship.[14] The crux of the film was described as Mirja having to decide where her loyalty lies: with her sick mother and sister, or with her lifelong friends. Sekersöz identified themes of friendship, loyalty, and identity.[15] Both Sekersöz and Emanuelsson characterised it as a political film. In an interview with the communist newspaper Proletären, they said their work was intended to question the idea that people can succeed simply through their own willpower, without interference from other systemic factors or conditions.[16] This perspective was criticised by Carolin Dahlman in Kristianstadsbladet, who argued that poverty should not be used as an excuse for criminal behaviour.[17]

The film had a thematic focus on caregiving and motherhood. In a chapter of the anthology Media Work, Mothers and Motherhood, Maria Jansson and Louise Wallenberg analysed the messages of Beyond Dreams, focusing on how once Mirja becomes responsible for taking care of Isa due to Sirkka's hospitalisation, she begins to face new problems that ultimately culminate in her losing her job. They concluded the film "challenges the notion that the conflict between mothering and care has been solved by the welfare state."[18] It was also discussed alongside Paradise Place (1977), as both films sparked discussion about the relationship between women and the welfare state. Jansson and Malte Breiding Hansen wrote that the response to Beyond Dreams, which was released 40 years after Paradise Place, illustrated how the neoliberal belief in individual social mobility had become increasingly prominent in cultural discourse.[19]

Release

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The film premiered on 28 January 2017 at the Gothenburg Film Festival, before its Swedish theatrical release on 17 March.[20] The distributor for the Swedish release was NonStop Entertainment.[21] It also had a premiere in Germany, opening the Lübeck Nordic Film Days festival on 1 November. Pluto Film managed global distribution.[22]

In 2018, Beyond Dreams was screened at Berlin Feminist Film Week and at TIFF Next Wave in Toronto.[23]

Reception

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Critical response

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On the Swedish review aggregator website Kritiker, the film earned an average rating of 4.0/5 based on 15 critics' reviews.[24] Dagens Nyheter film editors Helena Lindblad [sv] and Nicholas Wennö described Beyond Dreams as one of the ten best Swedish films of 2017, at number five.[25] It was also listed as being among the best Swedish films of the year by critics at Sydsvenskan.[26]

Sekersöz's direction was positively received by critics. In a review for Dagens Nyheter, Lindblad wrote the film was a "powerful debut" that represented "female experiences of complex sisterhood and caregiving demands in a wonderfully cliché-free and weightless way."[27] Mia Gerdin [sv] of Sveriges Radio praised both the direction and Emanuelsson's script.[28] However, other reviewers critiqued the narrative and storytelling. Kristoffer Viita of SVT Nyheter felt Beyond Dreams suffered somewhat from a "sprawling" plot and lack of development for Mirja's friends, but credited Sekersöz's attention to detail for elevating the film.[29] In a somewhat mixed review for Svenska Dagbladet, Karoline Eriksson criticised certain plot twists as overly simplistic, but praised the "liberating" depiction of young women from immigrant backgrounds without focusing on gender issues, boyfriends, or physical abuse.[30]

Ahmad's performance as Mirja was critically acclaimed and later described as her definitive breakthrough role.[31] Gizem Erdogan's depiction of her scorned best friend Sarah was described as "brilliant" by Eriksson in Svenska Dagbladet, and Anna Bjelkerud [sv] was also highlighted by several reviewers for her supporting character work.[32] Viita of SVT Nyheter wrote that Ella Åhman's portrayal of Mirja's Instagram model-obsessed sister was tragicomic and "particularly entertaining", but he took issue with the depiction of Mirja's mother, which he felt represented a caricature of "Finnish white trash."[29]

Accolades

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The film won the Church of Sweden's Film Prize, the Audience Dragon Award for Best Nordic Film, and the FIPRESCI Prize at the Norwegian International Film Festival.[33] At the most significant Kurdish film festival, Duhok, it won the Golden Leaf for Best Film, while Ahmad won the Silver Leaf for Best Actress.[34] Sekersöz won the Guldbagge Newcomer Award for directing Beyond Dreams.[35] She was also awarded a 30,000 SEK cultural scholarship from the Botkyrka Municipality, for "[giving] voices to the women of the Million Programme.[36] Ahmad and Erdogan both earned Guldbagge nominations, for Best Actress in a Leading Role and Best Actress in a Supporting Role, respectively.[37]

References

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Citations

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  1. ^ Wettersten (2017); Sandén (2017); Svenska Dagbladet (2016).
  2. ^ Widerberg (2017).
  3. ^ a b Nordic Women in Film (2016).
  4. ^ Lundström (2016).
  5. ^ a b Wiren (2016).
  6. ^ Swedish Film Institute (2016); Dahlman (2017).
  7. ^ Göteborgs-Posten (2017); Nordic Women in Film (2016).
  8. ^ Kronbrink (2017); Larsson (2016).
  9. ^ Hansson (2016).
  10. ^ Sevholt (2016).
  11. ^ Shoot&Post.
  12. ^ Sveriges Radio (2016); Swedish Film Database.
  13. ^ Lejon (2017); Palmeby (2017).
  14. ^ Lindblad (2017); Grönberg (2017); Eriksson (2017).
  15. ^ Borrie (2016).
  16. ^ Wettersten (2017).
  17. ^ Dahlman (2017).
  18. ^ Jansson & Wallenberg (2021).
  19. ^ Hansen Breiding & Jansson (2022).
  20. ^ Church of Sweden (2017); Cederskog (2017); Hjortman (2017); Grönberg (2017).
  21. ^ Pham (2017).
  22. ^ Lübeck Nordic Film Days (2017).
  23. ^ Der Tagesspiegel (2018); Abdi (2018).
  24. ^ Kritiker.
  25. ^ Lindblad & Wennö (2017).
  26. ^ Sydsvenskan (2017).
  27. ^ Lindblad (2017).
  28. ^ Gerdin (2017).
  29. ^ a b Viita (2017).
  30. ^ Eriksson (2017).
  31. ^ Ahlström (2017); Voss Gustavsson (2017); Aftonbladet (2022).
  32. ^ Eriksson (2017); Gerdin (2017); Lindblad (2017).
  33. ^ Ekström-Frisk (2017); Ravindran (2022).
  34. ^ Swedish Film Institute (2017); Dagens Nyheter (2017).
  35. ^ Ravindran (2022).
  36. ^ Kronbrink (2017).
  37. ^ Frost (2018).

Sources

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