five years ago, won the Mia Engberg a Guldbagge for best documentary with his autofiktiva hybridfilm ”Belleville baby”. A hypnotic, poetic and original creation that revolved around her own ungdomsminnen of a troubled love story with Parisgangstern Vincent.
Mia Engberg began thinking of a sequel in the same moment that she was done. It all started with one clear picture:
" I saw in front of me how a middle-aged Vincent comes home from a night shifts with a bloody hammer in a plastic bag and to make breakfast for his teenage daughter. From this picture unfolded the whole script out at any second, says Mia Engberg sitting in a meeting room in the Old town the day after galapremiären in Stockholm.
the melancholic, dreamy and experimental feature films where she continues her dialogue with the criminal muse that has become a driver for eskortflickor. Vincent is torn between his violent working environment in the Paris underworld, and the love for her teenage daughter who get to spend nights alone at home with a guldhamster as the only company.
" I am interested in what occurs in the gap between two completely different worlds – how a human being is capable of both violence and love his daughter. The film's theme is liberation. Basically, it is about whether we really want to be free, or sit secure in our houses – like the hamster in his cage.
Just as in ”Belleville baby”, she has downloaded the stuff from his own life. She has also still sporadic e-mail communication with Vincent.
" He has inspired the storyline, the character and the situation. Fixed the girl is completely taken from my own daughter. Even the hamster has a model in reality - my daughter had a rabbit as her dad wanted to drop out, " laughs Mia Engberg.
Read the review of ”Lucky one”
”the Lucky one” is both the most enjoyable and hardest film she has made. Two weeks before the inspelningsstarten she was told that she had breast cancer and was forced to put the film on hold for a year.
" It was an incredibly dark sjukdomsperiod which happened to coincide with that, Trump became president, högerpopulismens the rise, and scares about the climate crisis. It felt as if I lived in a Armageddon. My apocalyptic thoughts also made the movie darker and more stripped-down than what I had actually intended from the beginning.Interview with Mia Engberg current with hybridfilmen ”Lucky one”. Photo: Lisa Mattisson
also set the theme for the third part of the trilogy where Vincent will have a smaller role.
– the Film has the working title of ”Black Bird” and will revolve around our mortality. But the film will not be particularly sad but rather is characterized by a euphoric love for life, " she says.
Like many others who have found themselves in the valley of death she got a heightened feeling of being alive.
" I wake up every day and is thrilled to just be alive. After having spent my entire life to be in major cities such as Paris and New York, I want to now just being in the woods. Perhaps I just agree to grow old, ha ha, but I have also been hit by a silent fear that the wilderness, animals and insects are disappearing right before our eyes.
She also promises that the upcoming movie should be even bolder in its attempt to explore the genre she calls ”visual silence”.
" I want to move into the story in the spectator so that you have the freedom to create their own pictures. And I have no problems with viewing the video on a small screen, or looking away for a moment just listening – in headphones. Write it!
After his upbringing in a arbetarklasshem, she has always a clear class perspective on the world. So even in films where she had been drawn to the vulnerable and the invisible – the undocumented african street children (”Les enfants du Square”), a rullstolsburet skinhead with hiv / aids ('The stars we are”), a transgender person in the united states (”Manhood”) or of young graffiti artists in the suburb (”165 Hässelby”).
a postcard from the French tourist office. Her pictures are moving on the backstreets of a nocturnal Paris that is populated by society's flotsam and jetsam.
" I wanted to show the Paris I know. It is a very poor city that reflects the back of the luxury consumption – cocaine and lyxprostitution. I think it is exciting to see what happens in a city at night – the homeless, the gangsters, prostitutes, Vincent's town.
The upcoming sequel may be her last film. After 25 years does she feel finished with the moving image. Sometimes gorged.
– To make regular feature films are so boring, so predictable and so tedious. I want to create my own rules and find on your own games just about when I was little. And why should I contribute even more variable picture in the middle of all this visual pollution that is to drown us all?
The former punkaren have also lost faith in the film as a political force.
" When I was younger, I thought seriously that my films would change the world. I'm not so sure about it anymore, " she says.
No, she is not bitter. Or, well, yes, maybe a little...
" naturally, I'm privileged to get to do movies like ”the Lucky one”. At the same time, it is so very difficult to keep on with this kind of film in today's kulturklimat. You have to be terribly tough, persistent, and strong, "she says, and continues:
" I don't think I do narrow or incomprehensible film. Many think that ”the Lucky one” is a dark film, but for me it is a light film on the exemption.