Lukas Moodysson has a complicated relationship with his own national cinema whereby his work sitting on the periphery between art house cinema and popular culture. As an internationally esteemed auteur, his films have met with both national and international critical acclaim and are widely recognized through their deployment of left-wing, feminist discourses. Within Lilja 4-ever (2002), Moodysson explores the notion of fragmented identity under neo-liberal, global capitalism, addressing geopolitical exploitation and rape by the triumphant, ideological West, depicting these gaps between affluence and destitution through merging a cinema vérité aesthetic with a series . . .
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