• Post category:Movies
  • Post last modified:February 5, 2019

In Order of Disappearance

When his son is found dead due to an apparent heroin overdose, snow-plow driver Nils Dickman (Stellan Skarsgård) realizes that he’s actually been killed and exacts revenge. Another darkly comical collaboration between the director and Skarsgård, this one taking excellent advantage of snowy locations in northern Norway. Pretty much a spoof of western movies, featuring a quiet but deadly man who’s caught in the middle between rival gangs, one local headed by a psychopathic health freak, and one Serbian with a firm attachment to the mother land. Violent (with a very high body count) but funny and absurd; Skarsgård is perfect as the no-nonsense Swede.

2014-Norway-Sweden-Denmark. 116 min. Color. Widescreen. Produced by Finn Gjerdrum, Stein B. Kvae. Directed by Hans Petter Moland. Screenplay: Kim Fupz Aakeson. Cast: Stellan Skarsgård (Nils Dickman), Pål Sverre Valheim Hagen (Ole ”Greven” Forsby), Bruno Ganz (”Papa” Popovic), Birgitte Hjort Sørensen, Anders Baasmo Christiansen, Hildegunn Riise… Peter Andersson, Kristofer Hivju.

Trivia: Original title: Kraftidioten. Co-executive produced by Skarsgård and Erik Poppe. Remade in the U.S. as Cold Pursuit (2019). 

Last word: “I had written a little story, I told the writer about it, I pitched it to him after my previous film had opened in Berlin, he said ‘You’re planning it as a comedy, right?’ and I don’t know if I had thought of it. I thought the rage should be real but I guess his reason for asking was that he knew, or he thought, that it would be impossible to tell the story without being comedic with it. I never considered the humour as being disqualifying for an attempt to say something. But one of the ambitions of this project was also to defy genre, just to ignore the limitations of any kind of expectations, to be compartmentalised by the power of the ego. And to allow things that are perfectly accepted in real life to live side by side, you know our tragedy and our absurd comic observations, so that was a part of a film.” (Moland, Seen Some)



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