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itemprop="mainEntityOfPage" itemtype="https://schema.org/WebPage" itemid="http://www.sensesofcinema.com/2024/great-directors/zetterling-mai/"> <span class="cb-hide" itemscope itemprop="publisher" itemtype="https://schema.org/Organization"> <meta itemprop="name" content="Senses of Cinema"> <meta itemprop="url" content="https://www.sensesofcinema.com/wp-content/uploads/2014/05/senses-header-logo.png"> <span class="cb-hide" itemscope itemprop="logo" itemtype="https://schema.org/ImageObject"> <meta itemprop="url" content="https://www.sensesofcinema.com/wp-content/uploads/2014/05/senses-header-logo.png"> </span> </span> <span class="cb-hide" itemprop="author" itemscope itemtype="https://schema.org/Person"><meta itemprop="name" content="Eli Vannata"></span> <meta itemprop="headline" content="Zetterling, Mai"> <span class="cb-hide" itemscope itemtype="http://schema.org/ImageObject" itemprop="image" > <meta itemprop="url" content="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Zetterling-lead-1.jpg"> <meta itemprop="width" content="1600"> <meta itemprop="height" content="900"> </span> <div id="main" class="cb-main clearfix issue-single-meta-container"> <article id="post-49251" class="clearfix post-49251 post type-post status-publish format-standard has-post-thumbnail category-great-directors"> <header id="cb-standard-featured"><div class="cb-mask"><img width="750" height="400" src="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Zetterling-lead-1-750x400.jpg" class="cb-fi-standard wp-post-image" alt="" loading="lazy" /><div class="cb-image-credit"><i class="fa fa-camera"></i><i>Mai Zetterling - Courtesy of David Hughes, Labour Movement Archives and Library</i></div></div><div id="cb-fis-wrap" class="cb-entry-header hentry cb-fis cb-style-standard"><span class="cb-title-fi"><h1 class="entry-title cb-entry-title cb-single-title" itemprop="headline">Zetterling, Mai</h1><div class="cb-byline cb-font-header"><div class="cb-author cb-byline-element vcard author"><i class="fa fa-user"></i> <a href="http://www.sensesofcinema.com/author/eli-vannata/" title="Posts by Eli Vannata" class="author url fn" rel="author">Eli Vannata</a></div> <div class="cb-date cb-byline-element"><i class="fa fa-clock-o"></i> <time class="updated" datetime="2024-11-11">November 2024</time></div> <div class="cb-category cb-byline-element"><i class="fa fa-folder-o"></i> <a href="http://www.sensesofcinema.com/category/great-directors/" title="View all posts in Great Directors">Great Directors</a></div></div></div></header> <div class="cb-category cb-byline-element issue-single-meta"><i class="fa fa-folder-o"></i><a href="/issues/issue-111">Issue 111</a></div> <section class="cb-entry-content entry-content clearfix" itemprop="articleBody"> <h2><b>b. 24 May 1925, Västerås, Sweden</b></h2> <h2><b>d. 17 March 1994, London, United Kingdom</b></h2> <blockquote><p><span style="font-weight: 400;">“Is it possible to change people and the world we live in? You tell me. Can we change ourselves? That’s why Aristophanes wrote {</span><i><span style="font-weight: 400;">Lysistrata</span></i><span style="font-weight: 400;">}. To get things moving, to make people care… to stop us sitting around, believing we can do nothing… We have to talk! Stop being so embarrassed and critical. People have to be able to talk. Don’t you understand that it’s we who make the world what it is?”<sup class='footnote'><a href='#fn-49251-1' id='fnref-49251-1' onclick='return fdfootnote_show(49251)'>1</a></sup> – </span><i><span style="font-weight: 400;">Flickorna</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">The Girls</span></i><span style="font-weight: 400;">, 1968)</span></p></blockquote> <p><span style="font-weight: 400;">Mai Zetterling’s films make people talk – her deliberately nonconformist and controversial themes of gender and sexuality were attacked again and again by critics as exploitative and distasteful. On the other hand, this approach raised a cult following that applauded the fearlessly critical and sharply feminist voice throughout her filmography. A lack of financing after her controversial early films led Zetterling to explore different formats, including documentary and television filmmaking. By doing so, Zetterling exemplified her persistent voice by working through the unique pressures, restraints, and freedoms presented to her by these distinct mediums. Zetterling showed that her work demands to be taken seriously, whose social and political critiques become increasingly relevant, and whose obsession with the same themes, plots, and images indicates an unwavering authorship over her work.</span></p> <p><span style="font-weight: 400;">Zetterling turned to directing films in the 1960s after a career in acting. She had found her love for stardom by visiting a movie theater as a child: “For a time, we lived above an old cinema… I never remember paying, but I do remember that I loved, adored, venerated Shirley Temple. Smack opposite the cinema was the abominated school which looked and felt like a prison. I used to sit in the window over the neon signs, dreaming about Shirley and identifying with her world.”<sup class='footnote'><a href='#fn-49251-2' id='fnref-49251-2' onclick='return fdfootnote_show(49251)'>2</a></sup> After spending her youth working dangerous jobs, like on an assembly line for a prison textile factory and as a sex worker for older men, she pursued her dream of acting. She was accepted into the acting school at the Royal Dramatic Theater in Stockholm, where many famous Swedish directors and actors were taught, including Greta Garbo, Ingrid Bergman, and Ingmar Bergman. This education launched her acting career, landing her a role at the age of 19 in Alf Sjöberg’s film </span><i><span style="font-weight: 400;">Hets</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Torment</span></i><span style="font-weight: 400;">, 1944), which was written by the then-unknown Ingmar Bergman. From then on, Zetterling acted mostly in films from Sweden or the United Kingdom, including </span><i><span style="font-weight: 400;">Freida</span></i><span style="font-weight: 400;"> (1947) and </span><i><span style="font-weight: 400;">Musik i Mörker </span></i><span style="font-weight: 400;">(</span><i><span style="font-weight: 400;">Music in Darkness</span></i><span style="font-weight: 400;">, 1948). She then ventured into Hollywood to act alongside Tyrone Powers in </span><i><span style="font-weight: 400;">Abandon Ship </span></i><span style="font-weight: 400;">(1957) and Peter Sellars in </span><i><span style="font-weight: 400;">Only Two Can Play</span></i><span style="font-weight: 400;"> (1962). </span></p> <p><span style="font-weight: 400;">After acting in film and theater for two decades, Zetterling decided she wanted to transition behind the camera as a director. She notes in her autobiography, written in the third person, about the moment when she decided to change from acting to directing: “{Zetterling} underwent what can only be described as a gradual disillusionment with acting, which so far had been her only channel of expression. There were too many limitations, not enough creativity. She had come to realise that she was not a bit passive; that she was a doer, a fixer of things, with many ideas of her own which she wanted to explore and communicate to others.”<sup class='footnote'><a href='#fn-49251-3' id='fnref-49251-3' onclick='return fdfootnote_show(49251)'>3</a></sup> This statement not only sums up Zetterling’s transition into filmmaking but also part of the style that she took up in her films. Rather than continue her path of passivity, Zetterling had an eagerness to take action and vocalize the ideas that she found important by taking up the role of a filmmaker. The stylistic traits that Zetterling further developed throughout her career also take on this active role of criticizing and exploring relevant social and political issues. Her transition came with some backlash from outside directors, actors, and critics, who perpetrated a gendered way of viewing these roles into the passive female actress and active male director archetype.<sup class='footnote'><a href='#fn-49251-4' id='fnref-49251-4' onclick='return fdfootnote_show(49251)'>4</a></sup> This retaliation to her blurring of gender roles would not escape Zetterling, returning in response to the direction of her later films.</span></p> <p><span style="font-weight: 400;">Zetterling’s first mission as a new filmmaker was to learn the basics of the medium while finding her voice as a director. Over the span of four years, from 1960-1963, Zetterling directed four documentaries which include </span><i><span style="font-weight: 400;">The Polite Invasion: Mai Zetterling in Lapland</span></i><span style="font-weight: 400;"> (1960), </span><i><span style="font-weight: 400;">Lords of Little Egypt: Mai Zetterling Among the Gypsies</span></i><span style="font-weight: 400;"> (1961), </span><i><span style="font-weight: 400;">The Prosperity Race: Mai Zetterling in Stockholm</span></i><span style="font-weight: 400;"> (1962), and </span><i><span style="font-weight: 400;">The Do-It-Yourself Democracy</span></i><span style="font-weight: 400;">:</span><i><span style="font-weight: 400;"> Mai Zetterling in Iceland</span></i><span style="font-weight: 400;"> (1963). She co-wrote these alongside her husband and continual collaborator David Hughes. The four ethnographic documentaries focus on different cultures and communities out of Zetterling’s fascination with them, including Norway, France, Sweden, and Iceland. The documentaries themselves are met with some controversy, as they depict an othering of cultures presented as exotic or mysterious, an unfortunately common trait among documentary films.<sup class='footnote'><a href='#fn-49251-5' id='fnref-49251-5' onclick='return fdfootnote_show(49251)'>5</a></sup> The creation of these four documentaries would greatly build Zetterling’s skills as a filmmaker, preparing her to transition to narrative filmmaking.</span></p> <p><span style="font-weight: 400;">After her first documentaries, Zetterling created a narrative short film called </span><i><span style="font-weight: 400;">The War Game</span></i><span style="font-weight: 400;"> (1963). This was “the last step toward preparing for a feature film”.<sup class='footnote'><a href='#fn-49251-6' id='fnref-49251-6' onclick='return fdfootnote_show(49251)'>6</a></sup> Although the film was largely self-funded, it generated a positive reception, winning the Best Short Film at the 24th Venice International Film Festival and was Nominated for a BAFTA. </span><i><span style="font-weight: 400;">The War Game</span></i><span style="font-weight: 400;"> follows two boys, whose pretend game of war slowly becomes violent. Zetterling depicts this boy’s game to highlight the childish escalation of warfare among adult politicians and military leaders. Zetterling relates the way that children fight over a toy gun to government officials fighting over military forces.<sup class='footnote'><a href='#fn-49251-7' id='fnref-49251-7' onclick='return fdfootnote_show(49251)'>7</a></sup> This anti-war sentiment is something that Zetterling would return to and expand upon in many subsequent films, oftentimes showing war in relation to gender. </span><i><span style="font-weight: 400;">The War Game </span></i><span style="font-weight: 400;">ultimately shows promise for Zetterling’s further narrative work. This ability to weave political critique into a compelling narrative was something that Zetterling would expand upon in each of her films. Although her later films become increasingly pronounced in their themes and directorial artistry, </span><i><span style="font-weight: 400;">The War Game</span></i><span style="font-weight: 400;"> still holds merit as an early work by Zetterling.</span></p> <p><span style="font-weight: 400;">Soon after </span><i><span style="font-weight: 400;">The War Game</span></i><span style="font-weight: 400;">, Zetterling visited Stockholm to star in an advertisement for Lux soap, which quickly became an opportunity for her to successfully pitch her next feature film, </span><i><span style="font-weight: 400;">Älskande Par </span></i><span style="font-weight: 400;">(</span><i><span style="font-weight: 400;">Loving Couples</span></i><span style="font-weight: 400;">, 1964). The film was to be based on a book of the same name from Agnes von Krusenstjerna’s </span><i><span style="font-weight: 400;">Miss von Pahlen</span></i><span style="font-weight: 400;"> series</span><i><span style="font-weight: 400;">. </span></i><span style="font-weight: 400;">This resulted in the funding for Zetterling’s first feature, for which she received a sizable budget and access to star actors (Harriet Andersson, Gunnel Lindblom, Gunnar Björnstrand, among others) and crew (notably Sven Nykvist as the cinematographer). Many of the actors, alongside Sven Nykvist, were associated with filmmaker Ingmar Bergman, as he frequently cast them in his films throughout the ‘50s and ‘60s. This resulted in a troupe-like community that was analogous to Bergman. Alongside their similar visual style, this inevitably resulted in critics drawing associations between Zetterling and Bergman – an idea which would not only increase the international market for Zetterling’s films but would also prove to spin Bergman’s ideas on its head. Zetterling would effectively appropriate Bergman’s actors, characters, and themes as a way of reinterpreting them through a feminist viewpoint. It’s easy to recognize the connections between </span><i><span style="font-weight: 400;">Loving Couples</span></i><span style="font-weight: 400;"> and Bergman’s early films, like </span><i><span style="font-weight: 400;">Kvinnors Väntan</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Waiting Women</span></i><span style="font-weight: 400;">, 1952), </span><i><span style="font-weight: 400;">Kvinnodröm</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Dreams</span></i><span style="font-weight: 400;">, 1955), and especially </span><i><span style="font-weight: 400;">Nära Livet</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Brink of Life</span></i><span style="font-weight: 400;">, 1958) through their similarities in narrative structure, visual aesthetics, characters, and overarching themes. Zetterling reinterprets these concepts found in Bergman’s films to gain a deeper, realistic female gaze perspective of the same ideas. In this regard, Zetterling was able to create her own vision, even with the looming figure of Bergman dictating the Swedish style. </span></p> <div id="attachment_49252" style="width: 1797px" class="wp-caption alignnone"><a href="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-1-Loving-Couples.jpg"><img aria-describedby="caption-attachment-49252" loading="lazy" class="wp-image-49252 size-full" src="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-1-Loving-Couples.jpg" alt="" width="1787" height="1080" srcset="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-1-Loving-Couples.jpg 1787w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-1-Loving-Couples-300x181.jpg 300w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-1-Loving-Couples-1024x619.jpg 1024w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-1-Loving-Couples-768x464.jpg 768w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-1-Loving-Couples-1536x928.jpg 1536w" sizes="(max-width: 1787px) 100vw, 1787px" /></a><p id="caption-attachment-49252" class="wp-caption-text"><i>Loving Couples</i></p></div> <p><i><span style="font-weight: 400;">Loving Couples</span></i><span style="font-weight: 400;"> follows three pregnant women in a maternity hospital. Their stories are interwoven through their experience within the hospital, alongside a flashback structure that merges past with present. The film presents multiple themes that would become highly prevalent throughout Zetterling’s body of work: marriage, sex, and birth. These, alongside concepts of freedom and loneliness, were the “fundamentals of life” according to Zetterling.<sup class='footnote'><a href='#fn-49251-8' id='fnref-49251-8' onclick='return fdfootnote_show(49251)'>8</a></sup> To answer specifically why Zetterling was so obsessed with sexuality is not entirely possible. Rather, it seems obvious that sexuality, and its counterpart of gender, act as gateways into tapping into a human form of expression that was suppressed through social and political traditions. By expanding upon gender and sexuality in her films, Zetterling effectively fights against normative conventions in art and society. This would soon cause large amounts of controversy for each film that disrupted the traditional way of depicting gender and sexuality in cinema.</span></p> <p><span style="font-weight: 400;">One example of this in </span><i><span style="font-weight: 400;">Loving Couples</span></i><span style="font-weight: 400;"> is at the end of the film, where Angela (Gio Petré) gives birth to a child. The scene shows Angela fighting against the pain of childbirth, intercut with a shot of a baby being pulled from her womb. Zetterling utilizes the real birth of a child for this shot – one of the first narrative films to do so. This would cause controversy for </span><i><span style="font-weight: 400;">Loving Couples</span></i><span style="font-weight: 400;"> as viewers found it disturbing to watch an unexpected live birth on screen. This shows Zetterling’s boldness in creating deliberate shock while pushing the themes of gender, sexuality, and reproduction. By doing so, she breaks through normative traditions of filmmaking and cultural taboos to demonstrate a realistic viewpoint. This concept is emphasized in another scene of the film, which depicts a lesbian relationship between two women. She elicits this relationship as a way of disrupting how sexuality is generally perceived. Through one of Angela’s flashbacks, we meet Bell, whose pining for Angela first seems predatory, but ultimately unveils an empathetic and tragic side to her character. Her unrequited longing for affection results in the sad embrace of a tree, subsequently falling to the ground in despair. Zetterling touches on a charged feeling common in queer sexuality: unrequited love causing a deeper repression of identity. Bell’s character becomes a tragic figure when her repressed sexuality is met with rejection. Zetterling depicts this raw and tragic relationship to normalize queer sexuality in cinema while targeting relevant struggles that individuals deal with. </span></p> <p><span style="font-weight: 400;">Alongside these themes of gender and sexuality, Zetterling also indicates her signature style of depicting time, space, and memory. In </span><i><span style="font-weight: 400;">Loving Couples</span></i><span style="font-weight: 400;">, Zetterling, alongside editor Paul Davies, makes clear use of multiple editing techniques to create a sense of muddled time and space. In one scene, we see Adele (Gunnel Lindblom) as she runs down a corridor within the maternity hospital. Zetterling quickly fades to a flashback of Adele running through the woods to a naked lover awaiting her. The next shot brings us back to the present, as the nurses from the hospital catch up to Adele running through the hallway, restraining her with their hands. This again triggers Adele’s memory of her lover, as Zetterling fades back and forth between the harsh treatment of the nurses restraining her in the present, and passionate caressing with a lover in the past. These spaces become intertwined into a single montage of fading, where the memory of the past is revived in the present. This scene not only depicts Zetterling’s thematic representation of sexuality, but is also an example of the way in which she stylistically utilizes space and time to elicit the complexities of memory.</span></p> <p><span style="font-weight: 400;">Out of Zetterling’s filmography, </span><i><span style="font-weight: 400;">Loving Couples</span></i><span style="font-weight: 400;"> was received the best by critics and filmgoers on release. This being said, the film was met with some controversy, in part due to the fact that Zetterling was a female director. Famously, critics deemed that Zetterling “directs like a man”;<sup class='footnote'><a href='#fn-49251-9' id='fnref-49251-9' onclick='return fdfootnote_show(49251)'>9</a></sup> it seemed that there were preconceived notions of the European art-film aesthetic being predominantly masculine. Zetterling’s aesthetic style closely resembled this European look to such an extent as to define her as a ‘masculine’ director, a sentiment which still puzzles critics to this day. Despite reviewers’ misogynistic viewpoint of Zetterling, it was clear that she showed promise as a filmmaker with a naturally distinct sense of voice and style. This inevitably led to Zetterling’s continuation as a filmmaker, with her next film, </span><i><span style="font-weight: 400;">Nattlek</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Night Games</span></i><span style="font-weight: 400;">, 1966) releasing two years after </span><i><span style="font-weight: 400;">Loving Couples</span></i><span style="font-weight: 400;">.</span></p> <p><span style="font-weight: 400;">Zetterling’s second feature film, </span><i><span style="font-weight: 400;">Night Games</span></i><span style="font-weight: 400;">, again co-written with David Hughes, premiered at the Venice Film Festival with the following epigraph:</span></p> <blockquote><p><span style="font-weight: 400;">“I tried to film a story of modern Europe. I try to be honest, so it shows signs of decadence. Perverted sex is one of those signs, perhaps the most dramatically obvious, and I use it because I believe you can only come to a positive view of things by passing through innumerable negative views.”<sup class='footnote'><a href='#fn-49251-10' id='fnref-49251-10' onclick='return fdfootnote_show(49251)'>10</a></sup></span></p></blockquote> <p><span style="font-weight: 400;">At its core, </span><i><span style="font-weight: 400;">Night Games</span></i><span style="font-weight: 400;"> is an intensely Gothic film in the literary sense. Not only does it focus on the decadence and sexual perversion that Zetterling mentions, but its Gothic sensibility is made evident by the heightened melodrama, emphasis on psychological trauma, and the setting of the crumbling castle in which the plot takes place. </span><i><span style="font-weight: 400;">Night Games</span></i><span style="font-weight: 400;"> follows Jan (played by Jeve Hjelm) as he returns to his childhood home in Sweden, forcing him to grapple with his memory of the past. As Jan explores his previous home, Zetterling depicts vivid memories of his past, implementing a flashback structure similar to </span><i><span style="font-weight: 400;">Loving Couples</span></i><span style="font-weight: 400;">. Thus, the film takes place in the present and the past by intercutting the same physical spaces. Utilizing this structure allows for an exploration of subjective visions and memory, tapping into a psychological headspace to experience how characters interact with time and space. In this sense, memory, space, and time reveal a Freudian – and Gothic – look into how childhood memories shape adult perversions. Zetterling places an emphasis on sexuality in this regard, focusing on the relationship between young Jan and his mother. Jan is presented as a child sexually obsessed with his mother: he hides in her skirt, puts on her makeup, and in a culminating scene, masturbates in front of her. The Oedipal connection to Freud seems evident on its own, as this sexual connection between mother and son causes psychological trauma which Jan is forced to cope with when revisiting the house. Zetterling taps into a deeper understanding of trauma and memory by eliciting this perverse sense of sexuality. This, of course, comes at the risk of controversy and scandal by audiences who aren’t willing to look past the shocking factors to understand the film’s underlying themes.</span></p> <div id="attachment_49253" style="width: 1610px" class="wp-caption alignnone"><a href="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-2-Night-Games.jpg"><img aria-describedby="caption-attachment-49253" loading="lazy" class="wp-image-49253 size-full" src="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-2-Night-Games.jpg" alt="" width="1600" height="900" srcset="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-2-Night-Games.jpg 1600w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-2-Night-Games-300x169.jpg 300w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-2-Night-Games-1024x576.jpg 1024w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-2-Night-Games-768x432.jpg 768w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-2-Night-Games-1536x864.jpg 1536w" sizes="(max-width: 1600px) 100vw, 1600px" /></a><p id="caption-attachment-49253" class="wp-caption-text"><i>Night Games</i></p></div> <p><i><span style="font-weight: 400;">Night Games</span></i><span style="font-weight: 400;"> was met with controversy even before it premiered at the Venice Film Festival. Zetterling chose to utilize an anatomical drawing of intercourse from Leonardo da Vinci as the poster of the film, which sparked a large scandal at the festival. The poster was censored throughout the festival, “…they banned their own Leonardo da Vinci. Black paper covered my beautiful poster and nine hundred copies of the programme.”<sup class='footnote'><a href='#fn-49251-11' id='fnref-49251-11' onclick='return fdfootnote_show(49251)'>11</a></sup> The festival further decided to not screen the film to the general public, only allowing a private screening for judges and critics. All of this was done in an effort to censor the controversially perverse ideas that Zetterling wanted to emphasize. Critics deemed the film to be overly sensational, shameless, and exploitative for these same reasons.<sup class='footnote'><a href='#fn-49251-12' id='fnref-49251-12' onclick='return fdfootnote_show(49251)'>12</a></sup> In a mixed review of the film, Pauline Kael wrote, “I’ve never seen a movie with such a sophisticated technique joined to such bizarrely naïve content.”<sup class='footnote'><a href='#fn-49251-13' id='fnref-49251-13' onclick='return fdfootnote_show(49251)'>13</a></sup> Many critics, including Kael who called it “the worst of Fellini with the worst of Bergman”,<sup class='footnote'><a href='#fn-49251-14' id='fnref-49251-14' onclick='return fdfootnote_show(49251)'>14</a></sup> downplayed the film as a duplication of styles from Fellini, Bergman, and Buñuel, in turn dismissing any notion of originality in Zetterling’s approach to the film. Lastly, the screening of </span><i><span style="font-weight: 400;">Night Games</span></i><span style="font-weight: 400;"> at the San Francisco International Film Festival caused a large amount of controversy as Shirley Temple, the same child actress who inspired Zetterling to pursue acting, resigned as the director of the festival in protest of the screening of the film. She stated about </span><i><span style="font-weight: 400;">Night Games</span></i><span style="font-weight: 400;">: “I, like many women, am round, not square. But I am squarely against pornography for profit.”<sup class='footnote'><a href='#fn-49251-15' id='fnref-49251-15' onclick='return fdfootnote_show(49251)'>15</a></sup> This has become a notorious example of the backlash against Zetterling’s films internationally, as people found them to be tasteless and perverse, or in Shirley Temple’s case, pornographic. </span></p> <p><span style="font-weight: 400;">After </span><i><span style="font-weight: 400;">Loving Couples </span></i><span style="font-weight: 400;">and </span><i><span style="font-weight: 400;">Night Games</span></i><span style="font-weight: 400;">, Zetterling took on two large projects, which would take four years to complete. While working on what she thought was her next film, </span><i><span style="font-weight: 400;">The Girls, </span></i><span style="font-weight: 400;">Zetterling received a proposal to adapt Hjalmar Söderberg’s </span><i><span style="font-weight: 400;">Doktor Glas</span></i><span style="font-weight: 400;">, which she accepted. Zetterling shot </span><i><span style="font-weight: 400;">The Girls</span></i><span style="font-weight: 400;"> but stopped before editing to shoot and edit </span><i><span style="font-weight: 400;">Doktor Glas</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Doctor Glas</span></i><span style="font-weight: 400;">, 1968). Both films were then subsequently released in 1968. </span><i><span style="font-weight: 400;">Doctor Glas</span></i><span style="font-weight: 400;"> was originally set to premiere at the 1968 Cannes Film Festival but was canceled due to political riots surfacing at the time. This led to the film being widely unseen, and even generally unrecognized to this day. The 2022 Criterion Collection release of “Three by Mai Zetterling” presents </span><i><span style="font-weight: 400;">Loving Couples</span></i><span style="font-weight: 400;">, </span><i><span style="font-weight: 400;">Night Games</span></i><span style="font-weight: 400;">, and </span><i><span style="font-weight: 400;">The Girls</span></i><span style="font-weight: 400;"> as Zetterling’s important Swedish films, but unfortunately disregards </span><i><span style="font-weight: 400;">Doctor Glas</span></i><span style="font-weight: 400;">. Nevertheless, Zetterling shows a strong vision and style in </span><i><span style="font-weight: 400;">Doctor Glas</span></i><span style="font-weight: 400;"> which ultimately proves to be one of her most masterful films. Zetterling takes her previous themes of reproduction, sexuality, and gender and presents them in a different light. </span></p> <p><span style="font-weight: 400;">Per Oscarsson plays the character of Doctor Glas: a cold, lonely, and impotent physician disgusted with the sexual environment surrounding him. One patient of his, Helga, confides in him about the discomfort she feels concerning her husband’s sexual advances. The husband, who is also a clergyman, forces sex upon Helga with the intent of claiming his ‘marital right’. Glas attempts to persuade the clergyman to stop his behavior but ultimately arrives at the solution of murder when other strategies fail.</span></p> <div id="attachment_49254" style="width: 1290px" class="wp-caption alignnone"><a href="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-3-Doctor-Glas.jpg"><img aria-describedby="caption-attachment-49254" loading="lazy" class="wp-image-49254 size-full" src="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-3-Doctor-Glas.jpg" alt="" width="1280" height="720" srcset="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-3-Doctor-Glas.jpg 1280w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-3-Doctor-Glas-300x169.jpg 300w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-3-Doctor-Glas-1024x576.jpg 1024w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-3-Doctor-Glas-768x432.jpg 768w" sizes="(max-width: 1280px) 100vw, 1280px" /></a><p id="caption-attachment-49254" class="wp-caption-text"><i>Doctor Glas</i></p></div> <p><span style="font-weight: 400;">Like </span><i><span style="font-weight: 400;">Loving Couples</span></i><span style="font-weight: 400;"> and </span><i><span style="font-weight: 400;">Night Games</span></i><span style="font-weight: 400;">, Zetterling tells the story through an entanglement of flashbacks and subjective visions. Zetterling’s obsession with fractured narrative structure is utilized to highlight past, present, and subjective imagination. These moments are often shown in white indistinguishable spaces, shot with overexposed and high-contrast visuals. This not only taps into the psychological effect of inner subjectivity but also elicits a cold and distant atmosphere that matches the tone of the film. In this sense, Zetterling again emphasizes shocking effects to elicit discomfort in the viewer. In these scenes of memory and subjective imagination, Zetterling presents the viewer with difficult scenes. In one instance, Zetterling shows the marital rape between Helga and her husband, but positions the camera in Helga’s perspective to force the viewer into her inescapable circumstance. Zetterling requires that we identify with Helga’s position as we see grotesque close-ups of the husband’s face, intercut with explicit images of their genitals during the sequence. This striking choice creates deliberate discomfort in the viewer to witness Helga’s rape intimately. The sequence suits Zetterling’s style in challenging viewers to contemplate a reality that is often left unspoken. By consistently repeating themes of gender, sex, and reproduction, Zetterling actively incites a challenge for the viewer to confront – a provocation that finds its way into most of her films. Even in </span><i><span style="font-weight: 400;">Doctor Glas</span></i><span style="font-weight: 400;">, Zetterling reuses the controversial shot of live childbirth from the end of </span><i><span style="font-weight: 400;">Loving Couples</span></i><span style="font-weight: 400;">. There is a sense that she wants to repeat the elicitation of shock and controversy that the live childbirth in </span><i><span style="font-weight: 400;">Loving Couples</span></i><span style="font-weight: 400;"> was met with. By doing this, it also seems evident that Zetterling has an infatuation with this specific imagery.</span></p> <p><i><span style="font-weight: 400;">Doctor Glas</span></i><span style="font-weight: 400;"> was released to a very minimal audience. Even then, the film was reviewed negatively, as Swedish and Danish critics called it “disgusting” and a “failed product”.<sup class='footnote'><a href='#fn-49251-16' id='fnref-49251-16' onclick='return fdfootnote_show(49251)'>16</a></sup> This left it to be largely overshadowed by Zetterling’s other work throughout the years. Nevertheless, </span><i><span style="font-weight: 400;">Doctor Glas</span></i><span style="font-weight: 400;"> seems to be one of Zetterling’s finest films. It absorbs ideas that had been explored in the previous films, presenting them in a thematically and stylistically unique light. In this sense, it is not only one of her most mature and serious films but also one of her most experimental and creative. </span></p> <p><span style="font-weight: 400;">Zetterling’s next film, </span><i><span style="font-weight: 400;">Flickorna</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">The Girls</span></i><span style="font-weight: 400;">, 1968), began as an idea based upon Aristophanes’ </span><i><span style="font-weight: 400;">Lysistrata</span></i><span style="font-weight: 400;">, an ancient Greek comedy. The play includes the themes of sensuality, humor, and anti-war that Zetterling found highly appealing.<sup class='footnote'><a href='#fn-49251-17' id='fnref-49251-17' onclick='return fdfootnote_show(49251)'>17</a></sup> </span><i><span style="font-weight: 400;">The Girls </span></i><span style="font-weight: 400;">follows three women (played by Harriet Andersson, Bibi Andersson, and Gunnel Lindblom) as they perform </span><i><span style="font-weight: 400;">Lysistrata</span></i><span style="font-weight: 400;"> throughout Sweden. Their individual lives become infused with the characters of the play, culminating in a relationship between theater, film, and reality charged with social and political feminist commentary. At this point in her career, Zetterling admits to being inspired by Bergman in creating her own troupe of cast and crew as a way of forming a family.<sup class='footnote'><a href='#fn-49251-18' id='fnref-49251-18' onclick='return fdfootnote_show(49251)'>18</a></sup> Harriet Andersson, Gunnel Lindblom, and Gunnar Björnstrand made their return to working with Zetterling, alongside new, yet equally famous actors Bibi Andersson and Erland Josephson. </span></p> <div id="attachment_49255" style="width: 1610px" class="wp-caption alignnone"><a href="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-4-The-Girls.jpg"><img aria-describedby="caption-attachment-49255" loading="lazy" class="wp-image-49255 size-full" src="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-4-The-Girls.jpg" alt="" width="1600" height="900" srcset="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-4-The-Girls.jpg 1600w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-4-The-Girls-300x169.jpg 300w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-4-The-Girls-1024x576.jpg 1024w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-4-The-Girls-768x432.jpg 768w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-4-The-Girls-1536x864.jpg 1536w" sizes="(max-width: 1600px) 100vw, 1600px" /></a><p id="caption-attachment-49255" class="wp-caption-text"><i>The Girls</i></p></div> <p><span style="font-weight: 400;">Out of Zetterling’s filmography, </span><i><span style="font-weight: 400;">The Girls</span></i><span style="font-weight: 400;"> is the most outwardly feminist. Her themes of gender and sexuality discard subtlety to transform the film into an explicit and overtly feminist piece. In this sense, the characters act as mouthpieces to describe what Zetterling intends to say through her film, making her points evidently clear. In a central scene of the film, Liz (Bibi Andersson) pleads to a theater audience to discuss their interpretation and understanding of </span><i><span style="font-weight: 400;">Lysistrata</span></i><span style="font-weight: 400;"> directly after performing it. She looks upon the silently awkward audience, and with the camera positioned amongst them, pleads toward us in a three-minute monologue: “Is it at all possible to change one another and the world we live in?”<sup class='footnote'><a href='#fn-49251-19' id='fnref-49251-19' onclick='return fdfootnote_show(49251)'>19</a></sup> This sentiment of the capability for human change – intended with a feminist lens – is quickly brushed aside by Hugo (Gunnar Björnstrand) telling the audience with a smirk, “What? Yet another women’s revolt?”<sup class='footnote'><a href='#fn-49251-20' id='fnref-49251-20' onclick='return fdfootnote_show(49251)'>20</a></sup> The three women of the film persist in finding change, whether that be in their personal lives, in the production of the play, or through active protesting, to create a life that is not dictated by the patriarchy. The men of the film actively overlook and dismiss these notions as a form of maintaining their oppressive power. This morphs into a gender war between men and women. Zetterling places this against the backdrop of the historical rivalry of Sparta and Athens in </span><i><span style="font-weight: 400;">Lysistrata</span></i><span style="font-weight: 400;">, alongside the Cold War (and subsequently the Vietnam War) at the time of the film’s production.<sup class='footnote'><a href='#fn-49251-21' id='fnref-49251-21' onclick='return fdfootnote_show(49251)'>21</a></sup> The historical nature of power within war, shown within </span><i><span style="font-weight: 400;">The Girls</span></i><span style="font-weight: 400;"> as a slideshow of famous world leaders, is placed in relation to the ‘ordinary’ men of the film to create a distribution of oppressive power originating from the commonality of the male gender.<sup class='footnote'><a href='#fn-49251-22' id='fnref-49251-22' onclick='return fdfootnote_show(49251)'>22</a></sup></span></p> <p><span style="font-weight: 400;">Although </span><i><span style="font-weight: 400;">The Girls</span></i><span style="font-weight: 400;"> contains some of Zetterling’s most striking filmmaking, it also performed the worst out of her previous feature films. Not only did it have a very low turnout rate domestically and internationally, but the release also came with a generally scathing response from male critics. Some critics suggested that Zetterling was attempting to copy Bergman, Fellini, and Buñuel without providing enough original substance. On the other hand, many female critics and viewers resonated with the film. French philosopher Simone de Beauvoir gave </span><i><span style="font-weight: 400;">The Girls </span></i><span style="font-weight: 400;">a positive review in </span><i><span style="font-weight: 400;">Le Monde</span></i><span style="font-weight: 400;">, noting the film’s poetic and reflexive nature.<sup class='footnote'><a href='#fn-49251-23' id='fnref-49251-23' onclick='return fdfootnote_show(49251)'>23</a></sup> It wasn’t until years after its release that it began to receive generally positive reviews – a common trend for Zetterling’s filmography. More than any of Zetterling’s other films, </span><i><span style="font-weight: 400;">The Girls</span></i><span style="font-weight: 400;"> slowly became accepted into the European art-film canon. In the contemporary lens, </span><i><span style="font-weight: 400;">The Girls</span></i><span style="font-weight: 400;"> is Zetterling’s most viewed and appreciated work in her filmography. It is frequently screened and discussed as a quintessential entry into the feminist cinema canon in view of the film’s response to relevant political topics in the 1960s.</span></p> <p><span style="font-weight: 400;">The immediate failure of </span><i><span style="font-weight: 400;">Doctor Glas</span></i><span style="font-weight: 400;"> and </span><i><span style="font-weight: 400;">The Girls</span></i><span style="font-weight: 400;"> ensured that it would be difficult for Zetterling to continue making mainstream films, especially in Sweden. Yet after some failed projects that didn’t receive funding, alongside a book of short stories, Zetterling directed </span><i><span style="font-weight: 400;">Vincent the Dutchman </span></i><span style="font-weight: 400;">(1972), a BBC made-for-television film that follows the life of Vincent Van Gogh. Although relatively small in budget and scale, the film won a BAFTA for Best Specialized Television Program in 1973. </span></p> <p><span style="font-weight: 400;">Zetterling followed this up with her segment “The Strongest” in </span><i><span style="font-weight: 400;">Visions of Eight</span></i><span style="font-weight: 400;"> (1973). This film was a documentary anthology following the 1972 Munich Summer Olympics, utilizing eight segments from eight separate directors from around the world (Miloš Forman, Claude Lelouch, Yuri Ozerov, Kon Ichikawa, John Schlesinger, Arthur Penn, Michael Pfleghar, and Mai Zetterling). Being initially uninterested, Zetterling turned down the offer of doing a segment representing Sweden twice before accepting. She notes her distaste for competitive sports in her autobiography, referencing Orwell’s </span><i><span style="font-weight: 400;">The Sporting Spirit</span></i><span style="font-weight: 400;"> (1945): “…Sport had nothing to do with camaraderie and fair play, but that it was bound up with all kinds of jealousies about money, status, politics and hatred; that in a sense it was very close to warfare…”<sup class='footnote'><a href='#fn-49251-24' id='fnref-49251-24' onclick='return fdfootnote_show(49251)'>24</a></sup> This was particularly true for the 1972 Munich Olympics which </span><i><span style="font-weight: 400;">Visions of Eight</span></i><span style="font-weight: 400;"> covered, as 11 Israeli athletes, five Palestinians, and one German security guard were killed during the event. </span><i><span style="font-weight: 400;">Visions of Eight</span></i><span style="font-weight: 400;"> aimed to promote both anti-war and anti-competition sentiments, as suggested in an opening statement for the film, “This is no chronological record, no summary of winners and losers. Rather, it is the separate vision of eight singular film artists.”<sup class='footnote'><a href='#fn-49251-25' id='fnref-49251-25' onclick='return fdfootnote_show(49251)'>25</a></sup> The film, unlike Olympic films of the past – notoriously in Riefenstahl’s propagandistic </span><i><span style="font-weight: 400;">Olympia</span></i><span style="font-weight: 400;"> (1938) – aims to view the festival through an artistic lens, focusing on the individual aesthetics of the artist, rather than any nationalistic or propagandistic viewpoint. In this sense, the directors take up the role of the passive onlooker of the artistry of the individuals, rather than a judge or advocate for competing countries.</span></p> <div id="attachment_49256" style="width: 2410px" class="wp-caption alignnone"><a href="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-5-Visions-of-Eight.jpg"><img aria-describedby="caption-attachment-49256" loading="lazy" class="wp-image-49256 size-full" src="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-5-Visions-of-Eight.jpg" alt="" width="2400" height="1350" srcset="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-5-Visions-of-Eight.jpg 2400w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-5-Visions-of-Eight-300x169.jpg 300w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-5-Visions-of-Eight-1024x576.jpg 1024w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-5-Visions-of-Eight-768x432.jpg 768w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-5-Visions-of-Eight-1536x864.jpg 1536w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-5-Visions-of-Eight-2048x1152.jpg 2048w" sizes="(max-width: 2400px) 100vw, 2400px" /></a><p id="caption-attachment-49256" class="wp-caption-text">Mai Zetterling (left) and the directors of <i>Visions of Eight</i></p></div> <p><span style="font-weight: 400;">Zetterling’s segment, “The Strongest” is no exception to this. She was initially offered a segment on women athletes at the Olympics but felt it was “too obvious a choice” and wanted to do “as far as possible from what I am and what I know about”.<sup class='footnote'><a href='#fn-49251-26' id='fnref-49251-26' onclick='return fdfootnote_show(49251)'>26</a></sup> Zetterling found the obsessive, strange, and isolating nature of the competitors profoundly interesting, ultimately focusing on the process that Olympic weightlifters undergo to make it through the festival. In “The Strongest”, we see weightlifters training in the gym, their scrutinized diets being produced, and their final competition as a product of their labor. What makes Zetterling’s segment of </span><i><span style="font-weight: 400;">Visions of Eight</span></i><span style="font-weight: 400;"> so fascinating in regard to her oeuvre is how, when stripped away of the common themes of gender, sexuality, and fractured narrative structure, she still finds a way to keep the notion of obsession within the film. In this sense, Zetterling returns back to her documentarian lens once again to focus on a study of obsession within the ethnographic culture of Olympic weightlifting. As the segment begins we receive images of Zetterling working on set with the weightlifters, alongside narration of her thoughts: “I chose weightlifting because I knew nothing about it. And I suppose one thing that really fascinated me was that these men work in almost total isolation, and that they are obsessed. They don’t seem to have any life apart from lifting. I am not interested in sports, but I </span><i><span style="font-weight: 400;">am</span></i><span style="font-weight: 400;"> interested in obsession.”<sup class='footnote'><a href='#fn-49251-27' id='fnref-49251-27' onclick='return fdfootnote_show(49251)'>27</a></sup> We see multiple manifestations of this in “The Strongest” as the athletes obsess over something that seems trivial, yet liberating. Zetterling emphasizes an athlete faced with the inability to lift a weight. His entire mental process of gaining the confidence and physical strength to overcome the obstacle is exhibited on screen. Zetterling visualizes the mentality of obsession strictly through camera placement, editing, and diegetic sound. This moment indicates a highlight for </span><i><span style="font-weight: 400;">Visions of Eight</span></i><span style="font-weight: 400;">, alongside the brilliance of Zetterling’s direction. She invites us to understand the mentality of obsession, reflecting her own obsession with specific themes, characters, and images utilized throughout her filmography. </span></p> <p><span style="font-weight: 400;">Zetterling’s late career, beginning in the late 1970s, consisted of smaller TV projects with minimal funding, ultimately receiving small amounts of attention. After the divorce of her husband and frequent co-writer David Hughes in 1976, Zetterling channeled her energy into writing and directing </span><i><span style="font-weight: 400;">Vi har Många Namn</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">We Have Many Names</span></i><span style="font-weight: 400;">, 1976), which, casting herself as the lead role, follows many of the struggles that she faced in her marital relationship. This was followed up, the next year, with </span><i><span style="font-weight: 400;">Månen är en grön ost</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">The Moon is a Green Cheese</span></i><span style="font-weight: 400;">, 1977), which Zetterling also wrote and directed. </span><i><span style="font-weight: 400;">The Moon is a Green Cheese</span></i><span style="font-weight: 400;"> is Zetterling’s strangest entry in her filmography. Often noted as a children’s film, </span><i><span style="font-weight: 400;">The Moon is a Green Cheese</span></i><span style="font-weight: 400;"> is a surrealist fever dream of fantastical colors and childish nonsense, which has earned it equal amounts of acclaim and distaste from modern viewers. It still holds a small level of contemporary cult following amongst viewers looking for experimental and psychedelic cinema. Nevertheless, </span><i><span style="font-weight: 400;">The Moon is a Green Cheese</span></i><span style="font-weight: 400;"> was ultimately screened twice before falling into obscurity alongside some of Zetterling’s other ventures during this time period. </span></p> <p><span style="font-weight: 400;">Zetterling returned to documentary filmmaking once again from 1979-1981. Here she created three documentary films: </span><i><span style="font-weight: 400;">Mai Zetterling’s Stockholm</span></i><span style="font-weight: 400;"> (1979), </span><i><span style="font-weight: 400;">Lady Policeman</span></i><span style="font-weight: 400;"> (1979), and </span><i><span style="font-weight: 400;">Of Seals and Men</span></i><span style="font-weight: 400;"> (1981).<sup class='footnote'><a href='#fn-49251-28' id='fnref-49251-28' onclick='return fdfootnote_show(49251)'>28</a></sup> </span><i><span style="font-weight: 400;">Mai Zetterling’s Stockholm</span></i><span style="font-weight: 400;"> is the most interesting and accessible of the bunch, which focuses on Stockholm’s social and political environment. The documentary, starring Zetterling as the guide and narrator, focuses on topics of religion, theater, and war within Stockholm. Zetterling takes on the persona of August Strindberg and Queen Christina, both of whom lived in Stockholm. Strindberg is the largest focus of </span><i><span style="font-weight: 400;">Stockholm</span></i><span style="font-weight: 400;">, as Zetterling not only discusses his life and connection to the city, but also his fallacies in relation to women. Strindberg was notorious for his misogynistic viewpoint of women, often pitting them against men in the “fundamental antagonism that exists between the sexes”.<sup class='footnote'><a href='#fn-49251-29' id='fnref-49251-29' onclick='return fdfootnote_show(49251)'>29</a></sup> Even in a documentary format made for television, Zetterling still emphasizes this theme of gender which she focuses on in her narrative films. Dressed in a caricatured costume of Strindberg, Zetterling pokes fun at his belief of inherent female antagonism by mockingly reading his notes. Over narration she states, “On the shelves {of his home} are the plays obsessed with a central theme: women.”<sup class='footnote'><a href='#fn-49251-30' id='fnref-49251-30' onclick='return fdfootnote_show(49251)'>30</a></sup> An underlying point of interest in this line is that it can be used to describe both August Strindberg and Mai Zetterling’s work. They were both obsessed with the same ideas, but viewed them in opposite regards. Strindberg saw women as mystifying, imprudent, and antagonizing, while Zetterling responded to these beliefs by emphasizing female agency in light of oppression. </span><i><span style="font-weight: 400;">Stockholm</span></i><span style="font-weight: 400;"> not only uncovers a viewpoint of the city’s culture but also highlights how Zetterling’s themes build from the artists surrounding her, showing that, even through the documentary format, she persists in exploring her recurrent ideas.</span></p> <p><span style="font-weight: 400;">In 1982, Zetterling was offered to direct a feature film in Britain, called </span><i><span style="font-weight: 400;">Scrubbers</span></i><span style="font-weight: 400;"> (1982). The film dealt with the problematic borstal prison system, which was a youth prison reformatory in the UK. The film was initially co-written by Roy Minton, the screenwriter of the cult-classic British film, </span><i><span style="font-weight: 400;">Scum</span></i><span style="font-weight: 400;"> (1979), which follows a group of boys face in a male borstal. With this in mind, </span><i><span style="font-weight: 400;">Scrubbers</span></i><span style="font-weight: 400;"> was intended to be a ‘female version’ of </span><i><span style="font-weight: 400;">Scum, </span></i><span style="font-weight: 400;">utilizing similar plot points and themes but changing the gender of the characters. After Zetterling accepted to be on the project, she conducted extensive research inside ongoing borstals. This gave her a deeper understanding of how the corrupt system represses young women who “needed love and understanding”.<sup class='footnote'><a href='#fn-49251-31' id='fnref-49251-31' onclick='return fdfootnote_show(49251)'>31</a></sup> Zetterling rewrote large portions of Minton’s script to expand upon these ideas which she discovered in her research, leading to Minton disowning the project. Thus, Zetterling’s </span><i><span style="font-weight: 400;">Scrubbers </span></i><span style="font-weight: 400;">ultimately became a unique film, not entirely associated with </span><i><span style="font-weight: 400;">Scum</span></i><span style="font-weight: 400;">, with the inclusion of her as director and writer. </span></p> <div id="attachment_49257" style="width: 1006px" class="wp-caption alignnone"><a href="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-6-Scrubbers.jpg"><img aria-describedby="caption-attachment-49257" loading="lazy" class="wp-image-49257 size-full" src="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-6-Scrubbers.jpg" alt="" width="996" height="576" srcset="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-6-Scrubbers.jpg 996w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-6-Scrubbers-300x173.jpg 300w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Image-6-Scrubbers-768x444.jpg 768w" sizes="(max-width: 996px) 100vw, 996px" /></a><p id="caption-attachment-49257" class="wp-caption-text"><i>Scrubbers</i></p></div> <p><span style="font-weight: 400;">The plot of </span><i><span style="font-weight: 400;">Scrubbers </span></i><span style="font-weight: 400;">follows two friends, Annetta and Carol, who are placed inside the same all-girls borstal together. While here, they meet other members of the prison such as Mac, a jester-like entertainer who sings dirty limericks, and Glennis, a cigarette and glue-huffing addict. Throughout the film, Annetta helplessly tries to get back with her daughter, as shown in hallucinatory visions. In this sense, Zetterling’s theme of motherhood, seen previously in </span><i><span style="font-weight: 400;">Loving Couples</span></i><span style="font-weight: 400;"> or </span><i><span style="font-weight: 400;">Night Games</span></i><span style="font-weight: 400;">, reappears in the relationship between Annetta and her daughter. Zetterling equates motherhood with freedom and ambition, showing that for Annetta, and the other women of the borstal, the vision of motherhood is the only beacon of hope outside the prison system. This sensibility has carried through from </span><i><span style="font-weight: 400;">Loving Couples</span></i><span style="font-weight: 400;">, which ended with the birth of a child, giving hope for the creation of a new life. Although </span><i><span style="font-weight: 400;">Scrubbers</span></i><span style="font-weight: 400;"> was a return to larger-budget narrative filmmaking, the film continues the concepts that Zetterling had been working on throughout narrative, documentary, and television filmmaking. </span></p> <p><span style="font-weight: 400;">As customary for a Zetterling film, </span><i><span style="font-weight: 400;">Scrubbers</span></i><span style="font-weight: 400;"> did not receive high praise on release. Reviews from critics and audience members were generally mixed, sometimes noting an uninventive quality to the film. This being said, </span><i><span style="font-weight: 400;">Scrubbers</span></i><span style="font-weight: 400;">, like Zetterling’s other films, has aged well since its release. Although some still dismiss the film as a second-rate copy of the machismo cult-classic </span><i><span style="font-weight: 400;">Scum</span></i><span style="font-weight: 400;">, there is still an audience of viewers who are deeply interested in the queer, feminist, and political aspects of the film. </span></p> <p><span style="font-weight: 400;">Zetterling’s last narrative film, </span><i><span style="font-weight: 400;">Amorosa</span></i><span style="font-weight: 400;"> (1986), perfectly rounded off her career as a filmmaker. The film is based on the life of Agnes von Krusenstjerna, the Swedish writer whose ‘Miss von Pahlen’ series </span><i><span style="font-weight: 400;">Loving Couples</span></i><span style="font-weight: 400;"> was based on. Zetterling’s interest in the writer resurfaced due to the common themes they discussed: “{Von Krusenstjerna} wrote about men and women in conflict with one another. She wrote about love, to be sure, and the pain of love. She also wrote about family ties and tragedies: marriage, children, madness.”<sup class='footnote'><a href='#fn-49251-32' id='fnref-49251-32' onclick='return fdfootnote_show(49251)'>32</a></sup> In this sense, Zetterling is the most suitable director to adapt von Krusenstjerna’s life for the screen. She would become the writer whose influence both started (</span><i><span style="font-weight: 400;">Loving Couples</span></i><span style="font-weight: 400;">) and concluded Zetterling’s career (</span><i><span style="font-weight: 400;">Amorosa</span></i><span style="font-weight: 400;">). It shows that Zetterling never lost sight of the same core ideas that she wanted to advocate for at the start of her career. Therefore the elicitation of von Krusenstjerna creates a neat arc to Zetterling’s filmmaking career.</span></p> <p><span style="font-weight: 400;">At the end of her career, Zetterling directed a few smaller documentary films like </span><i><span style="font-weight: 400;">Betongmormor</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Concrete Grandma</span></i><span style="font-weight: 400;">, 1986), and </span><i><span style="font-weight: 400;">Sunday Pursuit</span></i><span style="font-weight: 400;"> (1990). By 1989, Zetterling took on a project for a film which was to be called </span><i><span style="font-weight: 400;">The Woman Who Cleaned the World</span></i><span style="font-weight: 400;">. While attempting to finance and produce the film, she would briefly return to acting in 1990, starring as Moa in Ken Loach’s </span><i><span style="font-weight: 400;">Hidden Agenda</span></i><span style="font-weight: 400;"> (1990) and as the grandmother Helga in Nicolas Roeg’s </span><i><span style="font-weight: 400;">The Witches</span></i><span style="font-weight: 400;"> (1990). Unfortunately, </span><i><span style="font-weight: 400;">The Woman Who Cleaned the World</span></i><span style="font-weight: 400;"> was never produced due to financing issues. The project stopped altogether after Zetterling’s death in 1996. This marked a close to her career at the age of 68, although she had been eager to continue directing films until her death.</span></p> <p><span style="font-weight: 400;">Unfortunately, many viewers and critics to this day have placed aside Zetterling’s filmography in favor of other Swedish directors working at the time. Ingmar Bergman, Bo Widerberg, Vilgot Sjöman, Lasse Hallström, and Jan Troell are often discussed as quintessential Swedish directors between the ‘60s and the ‘80s, although Zetterling was creating important films at the same time. This can’t be entirely attributed to Zetterling’s gender in a male-favored industry, but additionally the style of her films – deliberately controversial and unconventional – also contributed to dissuading viewers from attempting her work. On the other hand, there has been a community of viewers and critics who have appreciated Zetterling’s cinema over the years. Recent monumental restorations of Zetterling’s films by the Swedish Film Institute and Janus Films have made retrospective screenings, physical media releases, and streaming availability far more accessible. This has given a new generation of film viewers access to Zetterling’s films, some of which have been hidden in obscurity for many years. Along with the growth of interest in gender and sexuality in recent years, this has augmented the discussion for Zetterling’s works significantly. She has shown that her films, from her early documentaries to her late narratives, have exemplified a persistence in theme and style, no matter the budget, format, or time period in which she worked. </span></p> <h2><b>Selected Filmography as Director</b></h2> <ul> <li><i><span style="font-weight: 400;">The Polite Invasion: Mai Zetterling in Lapland</span></i><span style="font-weight: 400;"> (1960)</span></li> <li><i><span style="font-weight: 400;">Lords of Little Egypt: Mai Zetterling Among the Gypsies</span></i><span style="font-weight: 400;"> (1961)</span></li> <li><i><span style="font-weight: 400;">The Prosperity Race: Mai Zetterling in Stockholm</span></i><span style="font-weight: 400;"> (1962)</span></li> <li><i><span style="font-weight: 400;">The Do-It-Yourself Democracy: Mai Zetterling in Iceland</span></i><span style="font-weight: 400;"> (1963)</span></li> <li><i><span style="font-weight: 400;">The War Game</span></i><span style="font-weight: 400;"> (1963) </span></li> <li><i><span style="font-weight: 400;">Älskande Par</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Loving Couples</span></i><span style="font-weight: 400;">, 1964)</span></li> <li><i><span style="font-weight: 400;">Nattlek</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Night Games</span></i><span style="font-weight: 400;">, 1966)</span></li> <li><i><span style="font-weight: 400;">Doktor Glas</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Doctor Glas</span></i><span style="font-weight: 400;">, 1968)</span></li> <li><i><span style="font-weight: 400;">Flickorna</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">The Girls</span></i><span style="font-weight: 400;">, 1968)</span></li> <li><i><span style="font-weight: 400;">Vincent the Dutchman</span></i><span style="font-weight: 400;"> (1972)</span></li> <li><i><span style="font-weight: 400;">Visions of Eight</span></i><span style="font-weight: 400;">, segment “The Strongest” (1973)</span></li> <li><i><span style="font-weight: 400;">Vi Har Många Namn</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">We Have Many Names</span></i><span style="font-weight: 400;">, 1976)</span></li> <li><i><span style="font-weight: 400;">Månen är en grön ost</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">The Moon is a Green Cheese</span></i><span style="font-weight: 400;">, 1977)</span></li> <li><i><span style="font-weight: 400;">Lady Policeman</span></i><span style="font-weight: 400;"> (1979)</span></li> <li><i><span style="font-weight: 400;">Mai Zetterling’s Stockholm</span></i><span style="font-weight: 400;"> (1979)</span></li> <li><i><span style="font-weight: 400;">Of Seals and Men</span></i><span style="font-weight: 400;"> (1979)</span></li> <li><i><span style="font-weight: 400;">Scrubbers</span></i><span style="font-weight: 400;"> (1982)</span></li> <li><i><span style="font-weight: 400;">Amorosa</span></i><span style="font-weight: 400;"> (1986)</span></li> <li><i><span style="font-weight: 400;">Betongmormor</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Concrete Grandma</span></i><span style="font-weight: 400;">, 1986)</span></li> <li><i><span style="font-weight: 400;">Sunday Pursuit</span></i><span style="font-weight: 400;"> (1990)</span></li> </ul> <h3>Endnotes</h3> <div class='footnotes' id='footnotes-49251'> <div class='footnotedivider'></div> <ol> <li id='fn-49251-1'> Mai Zetterling, </span><i><span style="font-weight: 400;">Flickorna</span></i><span style="font-weight: 400;"> (Stockholm: Sandrews, 1968), 38:55-40:56. <span class='footnotereverse'><a href='#fnref-49251-1'>↩</a></span></li> <li id='fn-49251-2'> Mai Zetterling, </span><i><span style="font-weight: 400;">All Those Tomorrows </span></i><span style="font-weight: 400;">(London: Jonathan Cape, 1985), 30. <span class='footnotereverse'><a href='#fnref-49251-2'>↩</a></span></li> <li id='fn-49251-3'> Ibid., 161-162. <span class='footnotereverse'><a href='#fnref-49251-3'>↩</a></span></li> <li id='fn-49251-4'> Mariah Larsson, </span><i><span style="font-weight: 400;">A Cinema of Obsession</span></i><span style="font-weight: 400;"> (Wisconsin: University of Wisconsin Press, 2019), 21-22. <span class='footnotereverse'><a href='#fnref-49251-4'>↩</a></span></li> <li id='fn-49251-5'> Ibid., 27. <span class='footnotereverse'><a href='#fnref-49251-5'>↩</a></span></li> <li id='fn-49251-6'> Zetterling, </span><i><span style="font-weight: 400;">All Those Tomorrows</span></i><span style="font-weight: 400;">, 182. <span class='footnotereverse'><a href='#fnref-49251-6'>↩</a></span></li> <li id='fn-49251-7'> Larsson, </span><i><span style="font-weight: 400;">A Cinema of Obsession</span></i><span style="font-weight: 400;">, 33. <span class='footnotereverse'><a href='#fnref-49251-7'>↩</a></span></li> <li id='fn-49251-8'> Zetterling, </span><i><span style="font-weight: 400;">All Those Tomorrows</span></i><span style="font-weight: 400;">, 183. <span class='footnotereverse'><a href='#fnref-49251-8'>↩</a></span></li> <li id='fn-49251-9'> Ibid., 186. <span class='footnotereverse'><a href='#fnref-49251-9'>↩</a></span></li> <li id='fn-49251-10'> Ibid., 188. <span class='footnotereverse'><a href='#fnref-49251-10'>↩</a></span></li> <li id='fn-49251-11'> Ibid., 189. <span class='footnotereverse'><a href='#fnref-49251-11'>↩</a></span></li> <li id='fn-49251-12'> Ibid., 190. <span class='footnotereverse'><a href='#fnref-49251-12'>↩</a></span></li> <li id='fn-49251-13'> Pauline Kael, </span><i><span style="font-weight: 400;">Kiss Kiss Bang Bang</span></i><span style="font-weight: 400;"> (New York: Bantam Books, 1968), 128. <span class='footnotereverse'><a href='#fnref-49251-13'>↩</a></span></li> <li id='fn-49251-14'> Ibid., 127. <span class='footnotereverse'><a href='#fnref-49251-14'>↩</a></span></li> <li id='fn-49251-15'> Zetterling, </span><i><span style="font-weight: 400;">All Those Tomorrows</span></i><span style="font-weight: 400;">, 190. <span class='footnotereverse'><a href='#fnref-49251-15'>↩</a></span></li> <li id='fn-49251-16'> Larsson, </span><i><span style="font-weight: 400;">A Cinema of Obsession</span></i><span style="font-weight: 400;">, 84. <span class='footnotereverse'><a href='#fnref-49251-16'>↩</a></span></li> <li id='fn-49251-17'> Zetterling, </span><i><span style="font-weight: 400;">All Those Tomorrows</span></i><span style="font-weight: 400;">, 195. <span class='footnotereverse'><a href='#fnref-49251-17'>↩</a></span></li> <li id='fn-49251-18'> Ibid., 197. <span class='footnotereverse'><a href='#fnref-49251-18'>↩</a></span></li> <li id='fn-49251-19'> Zetterling, </span><i><span style="font-weight: 400;">Flickorna</span></i><span style="font-weight: 400;">, 39:10. <span class='footnotereverse'><a href='#fnref-49251-19'>↩</a></span></li> <li id='fn-49251-20'> Ibid., 41:11. <span class='footnotereverse'><a href='#fnref-49251-20'>↩</a></span></li> <li id='fn-49251-21'> Larsson, </span><i><span style="font-weight: 400;">A Cinema of Obsession</span></i><span style="font-weight: 400;">, 76. <span class='footnotereverse'><a href='#fnref-49251-21'>↩</a></span></li> <li id='fn-49251-22'> Ibid., 77. <span class='footnotereverse'><a href='#fnref-49251-22'>↩</a></span></li> <li id='fn-49251-23'> Zetterling, </span><i><span style="font-weight: 400;">All Those Tomorrows</span></i><span style="font-weight: 400;">, 204. <span class='footnotereverse'><a href='#fnref-49251-23'>↩</a></span></li> <li id='fn-49251-24'> Ibid., 208. <span class='footnotereverse'><a href='#fnref-49251-24'>↩</a></span></li> <li id='fn-49251-25'> Mai Zetterling, et al., </span><i><span style="font-weight: 400;">Visions of Eight</span></i><span style="font-weight: 400;"> (Los Angeles: Columbia Pictures, 1973), 00:48. <span class='footnotereverse'><a href='#fnref-49251-25'>↩</a></span></li> <li id='fn-49251-26'> Zetterling, </span><i><span style="font-weight: 400;">All Those Tomorrows</span></i><span style="font-weight: 400;">, 208. <span class='footnotereverse'><a href='#fnref-49251-26'>↩</a></span></li> <li id='fn-49251-27'> Zetterling, et al., </span><i><span style="font-weight: 400;">Visions of Eight</span></i><span style="font-weight: 400;">, 9:17-9:39. <span class='footnotereverse'><a href='#fnref-49251-27'>↩</a></span></li> <li id='fn-49251-28'> Mariah Larsson and Anna Westerstahl Stenport have written a great essay on the practice of colonialist documentary filmmaking that Zetterling uncovers in </span><i><span style="font-weight: 400;">Of Seals and Men</span></i><span style="font-weight: 400;">: </span><a href="https://www.jstor.org/stable/10.2979/filmhistory.27.4.106"><span style="font-weight: 400;">https://www.jstor.org/stable/10.2979/filmhistory.27.4.106</span></a><span style="font-weight: 400;">. <span class='footnotereverse'><a href='#fnref-49251-28'>↩</a></span></li> <li id='fn-49251-29'> Mai Zetterling, </span><i><span style="font-weight: 400;">Mai Zetterling’s Stockholm</span></i><span style="font-weight: 400;"> (Ottawa: Canadian Broadcasting Corporation, 1979), 9:35. <span class='footnotereverse'><a href='#fnref-49251-29'>↩</a></span></li> <li id='fn-49251-30'> Zetterling, </span><i><span style="font-weight: 400;">Mai Zetterling’s Stockholm</span></i><span style="font-weight: 400;">, 10:08-10:12. <span class='footnotereverse'><a href='#fnref-49251-30'>↩</a></span></li> <li id='fn-49251-31'> Zetterling, </span><i><span style="font-weight: 400;">All Those Tomorrows</span></i><span style="font-weight: 400;">, 220. <span class='footnotereverse'><a href='#fnref-49251-31'>↩</a></span></li> <li id='fn-49251-32'> Ibid., 223. <span class='footnotereverse'><a href='#fnref-49251-32'>↩</a></span></li> </ol> </div> </section>  <footer class="article-footer"> 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