Mom, dad, the children – the church of the holy trinity must not be broken. When it does occur phantom limb pain after they severed ties. ”Beast” is a skilsmässopjäs if the intensity of the pain, a little tragic-comedy that takes place long afterwards, among the memories and appearance glimpses of the old in a tidsupplöst chronology.
Melinda Kinnaman is the daughter who has come home to seek the father at his job. Kristina Törnqvist, the fun, the relating to her mother, draws in her shiny blouse and smiling his tied smile that bågnar of anxiety. Minimal coffee cups are balanced. Kinnaman, listening absent-mindedly on the mother's repetition of the beställsamheter, unresponsive, on the contrary, tenderly and studies. As in all families: there is much to see through.
is vague, warm and masculine far. Gently loving behind its portfolio, familiar, but no deformation. The daughter's boyfriend, Eric Stern, has the task to complete a next new two and takes it upon himself with comically stylized vuxenhet.
the Replicas going around in the same old rut in a way we recognize. Gunilla Nyroos director gives game details and little flourishes that reveal what takes place during these bland conversations – like how old the family members as well as groping for each other and pinching fixed when they happen to come near.
Or how they sometimes as well as inhale each other's scents. It can be an explanation for the slightly odd pjästiteln. For perhaps it is the unique, ethereal scent of this missing family, home, and habits, which keeps them together despite everything, and that they search with their noses, like animals.
creates the magnetic field. Two simple lines: Förlossningsögonblickets ”We are three” pronounced in a sunlit memory, and the cry of pain ”It is never over”, which reflects the child's (and adult child's) longing back to the happy urtillståndet. The idea goes to Suzanne Set and Per Lysanders piece ”Medea's children”, skilsmässofamiljernas classics.
A powerful comparison, but the ”Beast” is Lolo Ambles so far the best piece. The line is thin between the universal and the trivial and Amble have often been very near it later. In the ”Beast” has she released the railing and gives us a more abstract and safe freeriding that smells of Beckett. Nothing is left. Everything is still there.