Bo Holmström

One Monday morning, a thousand children leave the suburb of Farsta and go to Stockholm to occupy the Royal Castle. The children have formed a group called S.O.P.O.R. as a protest against the way adults treat them and have destroyed their future. They demand that the robots in the industry are replaced by humans to create job opportunities. They take the royal family as hostages.

Following the 1975 West German Embassy siege in Stockholm, the German Red Army Faction (RAF) terrorist Norbert Kröcher allegedly planned to kidnap Anna-Greta Leijon. The goal was to exchange Leijon for 8 of his comrades held in German prisons. The plan, known as Operation Leo, was intercepted by the Swedish Security Service (Säpo) and Kröcher and other team members was arrested on 31 March in Stockholm.

Un policía se encuentra ingresado en un hospital de Estocolmo cuando es brutalmente asesinado. Martin Beck y Einar Rönn iniciarán la investigación del caso. El hombre asesinado era una persona infame, conocido entre sus colegas por abusar de sus privilegios de policía.

Joergen (Per Myberg) is the Swedish journalist who uncovers a gun-running operation on the borders of Vietnam. The trail leads to a financial group of wealthy industrialists lead by Magnus Rud (Max von Sydow). He refuses to bury the story, leading to trouble for the idealistic reporter and his girlfriend Christine (Lena Granhagen) in this political drama about the war machine and freedom of the press.

A theater company rehearses Aristophanes play "Lysistrata" in which the Athenian women revolt to force the men to suspend the war and make peace. The three leading female actresses, Liz, Marianne and Gunilla, all live in humiliating circumstances to their men.

Soy Curiosa - Azul se desarrolla en paralelo a Soy Curiosa - Amarillo. Continúan los esfuerzos de Lena por comprender la sociedad sueca. En esta ocasión sus preocupaciones giran alrededor de asuntos como la religión, la sexualidad y el sistema de prisiones, a la vez que mantiene la exploración de sus propias relaciones personales. De la misma forma que en Amarillo, Azul atraviesa libremente las líneas que separan realidad y ficción, empleando una mezcla de técnicas propias del drama y del documental. (FILMAFFINITY)