Per Blom

In a remote Norwegian mountain-area in the thirties, two 12 year old girls Siss and Unn meets. They are friends, but for Unn it is more serious, she admits to have secret and indecent fantasies about her girlfriend.

In a remote Norwegian mountain-area in the thirties, two 12 year old girls Siss and Unn meets. They are friends, but for Unn it is more serious, she admits to have secret and indecent fantasies about her girlfriend.

Fredrik, nicknamed "Silver mouth" for his braces, lives with his father in Oslo. While the two share a loving relationship, Fredrik has trouble adjusting to the idea of his father becoming involved with a new woman. After visiting his mother, who lives in another city, he attempts to sabotage his father's relationship.

Someone has broken into their country summer house. This shakes up the parents. But Nina's fantasy is triggered, learning the break-in is done by an 11 year old boy, running away from home. With the code name Zeppelin, she learns him to know.

Three people wake up in an apartment at broad daylight, after a heavy party the day before. Christian is a family man and a freelance photographer is waking up in his studio, and his friend Nils, an artist. But who is the girl?

Two women share a room in a hospital. One has just given birth to a stillborn child, the other has had her ovaries removed. Bonding over their trauma, past and present, both women in turn taking care of the other, they become friends and try to help each other upon leaving the hospital.

Two women share a room in a hospital. One has just given birth to a stillborn child, the other has had her ovaries removed. Bonding over their trauma, past and present, both women in turn taking care of the other, they become friends and try to help each other upon leaving the hospital.

This co-production between Norway and Sweden is the first film that Anja Breien has made since Wives. She has adapted a novel by Hjalmar Soderberg. who also wrote 'Gertrud' from which Carl Dreyer's last film was made, and Doctor Glas' (made into a film by Mai Zetterhng) Games of Love and Loneliness, concerns the manners and mores of Scandinavian society between the years 1897 and 1912. A young journalist, Arvid, falls in love with a girl but won't commit himself to marrying her. She marries an older and richer man and he's pushed into marrying the girl he's been sleeping with. He meets his first love again, and she leaves her husband to have an affair with him, but he still cannot bring himself to leave his wife. Although Anja Breien has changed the character of the girl to make her less of a femme fatale and more of an emancipated woman, the film's central concern is the young man who cannot make up his mind what to do with his life.

A young man returns home from college during a holiday break to visit his widowed mother. Along the way he meets an attractive woman and they hit it off so well during his return trip that she accepts an invitation from him to stay at his Mother's house during his stay. But his Mother is not pleased with this surprise as she has rather strong feelings for her own son and desires to keep him all for herself.

A young man returns home from college during a holiday break to visit his widowed mother. Along the way he meets an attractive woman and they hit it off so well during his return trip that she accepts an invitation from him to stay at his Mother's house during his stay. But his Mother is not pleased with this surprise as she has rather strong feelings for her own son and desires to keep him all for herself.

«What do you really want», Jan shouts to Reidun. They are a young couple, but their relationship is brittle and seems to be dissolving due to both internal and external pressures. On the weekend they invite another couple for dinner, but the companionship and fun are gradually destroyed by quarrels and infidelity. Still, the two women finally seem to find understanding and solidarity in eachother. Week-End depicts how the political also permeate the private, in a way both original and typical of its age. The tension between old and new gender roles is one cause of the problems in the relationship between Reidun and Jan, but the political is just one aspect in a film that also deals with emotions, relations and identity. Week-End is rooted in 1970s social modernism, mixing modernist storytelling strategies with a political sub-theme of female identity and solidarity

Anton is a teenage boy living with his father in the Norwegian countryside. When his father's mental health deteriorates, the local physician suggests that Anton's mother, who left them both many years ago, should take care of him. Anton, who resents his mother, struggles against the authority of his elders and also tries to help out an old neighbor and friend.

Anton is a teenage boy living with his father in the Norwegian countryside. When his father's mental health deteriorates, the local physician suggests that Anton's mother, who left them both many years ago, should take care of him. Anton, who resents his mother, struggles against the authority of his elders and also tries to help out an old neighbor and friend.

It's winter in a suburb. A housewife is brutally raped. A young woman becomes a victim of attempted rape. The Police tighten noose on Anders, a young road worker who was seen on the site in both cases. The two women think they recognize him in the lineup, and police investigators use all their strength to solve the case. Anders is a common and simple individual. He could be any youth. The meeting with the ongoing investigation and the solid judiciary, forces him out of a seemingly monotonous, habitual life and forces him to react and think.