E
In the climax of Anna Eriksson’s film trilogy, Finland’s former Prime Minister causes a scandal at the Nobel Gala and vanishes into the desert of reality.
Anna Eriksson’s latest work of art, E, the climax of her letter trilogy. The electric nightmare peppered with self-aware dark humour brings some much needed nervous vibrations into Finnish cinema, a restlessness reminiscent of von Trier, Lynch, Denis, Bergman and even Żuławski.
Rhythm, soundscape, shot composition. Models. Unlike anything we’ve seen before in our periphery. Eriksson’s work is on a stellar plane of its own: unique and endlessly fascinating. More distilled emotion than feigned sentimentality, more a stick of dynamite than ordinary sticky art.
As a film about dunes, it far surpasses the recent overinflated Hollywood spectacles. E is a reminder that much before all that commercial nonsense films like Woman in the Dunes (1964) were made.
Eriksson’s film is something completely different from the harmless dreams we are used to seeing in Finnish cinema. Merely the fact that it does not attempt to cheaply dilute children’s Hollywood fluff is a delightful promise about the new direction of Finnish film as something other than an echo of American cinema.
Joonas Nykänen (translated by Adrian Murtomäki)
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