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Oslofilm: Oslofjorden og småbåtene

An informative film about marinas and boating life in Oslo, including a historical retrospective. ***** Oslofilm was a series of public information films about life in and around Oslo, produced between 1940 and 1980. Funded by the state, the films offer valuable insight into postwar Norwegian society. A wide range of Norwegian filmmakers contributed to the productions, resulting in a rich variety of styles and expressions. Several of the films also possess notable cinematic qualities, standing out as more than just informational material. The Oslofilms represent a unique and important chapter in Norwegian film history.

Oslofilm: Oslofjorden og småbåtene

NR 1961
King, Murray

Characterized as a "fictionalized documentary" by the producer, this bizarre experimental drama is the story of three days in the life of a highly charged and successful Long Island insurance salesman who takes a filmmaker to Las Vegas. Though the protagonists really are a salesman and a director, the line between reality and fiction is hopelessly blurred as the story unfolds. . . The brash, loud and supremely confidant salesman shmoozes his clients in a way that is a game for him. He uses his powers of persuasion to acquire more and more sales. He and his cronies drink and feast over their success before embarking on the Las Vegas convention. The company even goes so far as to provide women for the married men, rewarding their career successes with amoral excesses in this film that concludes with a dream sequence on a beach.

King, Murray

7.0 1969
The Islanders

Above the tip of Cape York, beyond the northernmost point of the Australian continent, are the Torres Strait Islands. The economy here is based on home gardens and pearlshell fishing. The culture, with its basis in music, dancing and ceremony, provides a striking contrast to that of mainland Australia. This film, shot in the late 1960s, shows how strongly old traditions still affect Torres Strait Islander people, even though they also have most of the trappings of modern life.

The Islanders

NR 1968
The School of the Meri Village

You must have passed through here at least once, says the voiceover commentary during the opening shots of this film. We learn that express trains pass through Meri without stopping and goods trains slow down, but don’t stop. Only the 7:01 commuter train stops, for just a minute, long enough for the teaching staff to alight. Dedicated to all those who live and work in isolated corners of the country, the film conjures up a small, remote world, virtually unknown to wider audiences.

The School of the Meri Village

NR 1964
Oslofilm: Haukelands dynamikk

A film about the relocation of Arnold Haukeland’s sculpture "Dynamikk" from Haukeland’s studio in Fallerkroken, Bærum, to the Oslo waterfront on 14 September 1966. ***** Oslofilm was a series of public information films about life in and around Oslo, produced between 1940 and 1980. Funded by the state, the films offer valuable insight into postwar Norwegian society. A wide range of Norwegian filmmakers contributed to the productions, resulting in a rich variety of styles and expressions. Several of the films also possess notable cinematic qualities, standing out as more than just informational material. The Oslofilms represent a unique and important chapter in Norwegian film history.

Oslofilm: Haukelands dynamikk

NR 1966
Urho Kekkonen

The documentary, intended as an election film, covers the key events of Urho Kekkonen's first presidential term. The President of the Republic of Finland makes state visits all over the world and travels frequently in Finland. The President's spouse Sylvi Kekkonen is also featured in the documentary. The President also comes to Tampere in July 1961, when King Olav of Norway visits Finland. President Kekkonen's first term was a time of many crises, but they are not really featured in the film. Instead, the ending is heartwarming: Urho picks a fallen autumn leaf from the ground and hands it to Sylvi.

Urho Kekkonen

NR 1961
Portrait

The aesthetic moves progressively from loose “underground” means using expressionistic camera movement, multiple exposures, droning sequences and shock cut towards a static, didactic form of “documentary” marked with long takes, minimal camera movement, a surface concentration on showing how things are. Being silent they operate on sheerly visual means. From the outset they grapple with socio-political issues with the stifling atmosphere of Catholic family life in Italy

Portrait

4.0 1963