Director of Photography
The normally so closely united family is having a crisis. Mie and Ole can no longer stand sharing a room, big sister Sis is tired of acting as the family's spare mother, and Father does not have the usual surplus to tackle Uncle Anders' peculiar behavior. Leaving Tiny Per, alone and sad about it all. Uncle Anders therefore enrolls the family to stay at a family therapy center, where they must live as Vikings for a week
Director of Photography
The girlfriend Klara has recently fallen in love and wants nothing more than to hang out with her boyfriend. The mother-of-two Anna clocks how long it takes for her husband to cook baby formula. The ex-wife Vera can't let go of her ex-husband. The feature-film debuting Katja Wik presents a squib right on the money about women's tendency to, both consciously and unconsciously, limit themselves in their close relationships of two. Each frame conveys the film's theme of power manipulation and Katja Wik's neologism "victim-mentality rhetoric" (offerrollsretorik) is used by all parties as an effective weapon. Without stagnating in bitterness, The Ex-wife serves as a funhouse mirror reflecting this disturbing trait, which most of us can recognize, but which few dare to acknowledge
Director of Photography
조용한 해변마을, 기후변화로 인해 새로운 종이 탄생해 인간들을 공격하기 시작했다. 육식을 하는 이들은 인간을 상대로 무차별 공격을 시도하고 대니와 윌리엄 형제의 부친까지 피해를 입는다. 가까스로 살아남은 형제는 방안을 봉쇄하고 괴물들로 부터 살아남지만 밖에는 엄마가 있는 상황. 이들은 엄마를 구하기 위해 위험천만한 길을 나선다.
