Three sisters, all adrift and in crisis, come together again at their childhood home for the celebration of their mother's birthday. The festivities soon come to an end though, and repressed conflicts rise up to the surface. Old wounds are opened and a new family is born.
"I am quite fond of fairy-tales - the fantastical, the playful. In my previous films, realism ruled. So I thought the most risky thing I could do right now, would be to make a movie that communicates on a broader scale. (...) I simply didn't want a patriarch to be part of this story. I was much more excited by the idea of women who are capable of managing on their own. The good older sister, the unbridled matriarchal mother, the never-afraid-to-speak-her-mind, crazy middle sister, and the youngest sister, at a loss and always a few steps behind. And I wanted to shoot something I found beautiful. We tend to immediately recognize a thing of beauty. Film is like life in that respect: it is instantaneous. It is an image in which we see many layers. We know what we want. We know what we find beautiful. But that's not enough. We want to see beyond the layers, to see the cracks. And that's when these women start to fall apart. I want to break them down. In that sense, this film is greater than I am. It grew into an auteur film about family. A piece of work about three sisters competing for their mother's love. So, let the curtain be dropped." (Jesper Ganslandt)
Jesper Ganslandt (Falkenberg, Sweden, 1978) graduated in 1999, with a degree in philosophy. He moved to Stockholm the following year, where he wrote his first screenplay, Farväl Falkenberg, which he eventually turned into film without any official training in 2006. The film was shown in Venice and Toronto and received international acclaim, eventually being selected to represent Sweden at the Academy Awards. In 2008, Ganslandt directed musical documentary Skinnskatteberg and short Jesper Ganslandt's 114th Dream. These two experimental films helped him evolve as an author, distancing him from the image he had built for himself after his first film. In 2009, Ganslandt co-directed another documentary The film I'm no longer talking about with Martin Degrell. That year Ganslandt's second feature film, The Ape, was released, once more bringing him to present during the Venice Days and in Toronto.