#karin bergquist

[byneddiedingo]

Let the Right One In (Tomas Alfredson, 2008)

Cast: Kåre Hedebrant, Lina Leandersson, Per Ragnar, Henrik Dahl, Karin Bergquist, Peter Carlberg, Ika Nord, Mikael Rahm, Karl-Robert Lindgren. Screenplay: John Ajvide Lindqvist, based on his novel. Cinematography: Hoyte Van Hoytema. Production design: Eva Norén. Film editing: Tomas Alfredson, Dino Jonsäter. Music: Johan Söderqvist. 

For those blog-readers getting ready to outfit little Jake or Jenny with plastic fangs and felt cape, let me remind you that the vampire legend, with its penetration and exchange of fluids, is always and invariably about sex, or the fear of it. Even when the vampire is 12 years old. Or maybe especially when the vampire is a 12-year-old girl who moves in next door to a 12-year-old boy on the cusp of adolescence. Of course, as a vampire, Eli (Lina Leandersson) is going to be 12 years old forever, and she tells Oskar (Kåre Hedebrant) that she's not a girl, raising a note of ambiguity: Does she mean that she's not a girl but a vampire, or that she's transgender or even neuter? (There's a flash of nudity which suggests that she has undergone some sort of genital trauma.) No matter, for the film is really about the relationship that develops between a boy who is being tormented by bullies and a vampire/girl with the power to put an end to his tormentors. Let the Right One In is such a richly textured film that it transcends its horror-film elements, its bloodlettings and its suspense-engendering narrative. A good deal of the screenplay is devoted to giving the secondary characters lives (and deaths) of their own, including Oskar's estranged parents and the man who lives with, and serves, Eli. Even incidental details, such as Eli's odd possessions, and the ending, Oskar on a train, Eli apparently in a box beside him, are tantalizing. No surprise that the film was remade in the United States as Let Me In (Matt Reeves, 2010) and became the basis for a TV series in 2022.

[filmphilics]

Recommendation of the week: Let The Right One In (2008)

Dir.: Tomas Alfredson

Cast: Kåre Hedebrant, Lina Leandersson, Per Ragnar, Henrik Dahl, Karin Bergquist.

Genre: Horror

Plot: Oskar, a bullied 12-year old, dreams of revenge. He falls in love with Eli, a peculiar girl. She can't stand the sun or food and to come into a room she needs to be invited.

Filmphilics score: 8/10

[genevieveetguy]

I'm twelve. But I've been twelve for a long time.

Let the Right One In (Låt den rätte komma in), Tomas Alfredson (2008)

[davidosu87]

[z00r0p4]

P,S,T

Ok I swear I answered this earlier but I wifi must not have been good.

Fav pie: derby pie 😍. I didn’t know about it til I moved to the south and it’s literally the only thing the south does right. Nothing better than a good slice of derby pie with some whipped cream.

Fav singer: Karin bergquist. What I wouldn’t give to have a voice like that omg.

Favorite tea: jasmine milk tea probably. But I enjoy a good english breakfast tea w cream and sugar. And also southern sweet tea. Honestly I have no rules with tea. All teas r valid.

[movs4up-blog]

Let the Right One In

Let the Right One In

Set in 1982 in the suburb of Blackeberg, Stockholm, twelve-year-old Oskar is a lonely outsider, bullied at school by his classmates; at home, Oskar dreams of revenge against a trio of bullies. He befriends his twelve-year-old, next-door neighbor Eli, who only appears at night in the snow-covered playground outside their building.

[thatsnotcanonpodcasts]

Let The Right One In (2008)

This week Sebastian, Alex, Andy, and Zane discuss Let the Right One In (2008)

Like us and continue the discussion on Facebook, Twitter, our Website,

OR consider giving to our Patreon,

AND, find all of our sister podcasts at www.thatsnotcanonproductions.com

[goodbadforever]

Morning Earworm: Rediscovering/discovering much of Over The Rhine’s discography. This is one of their few songs I knew 20 years ago. I liked it then, but really appreciate it so much more now. You know the Internet’s current favorite relationship advice: “If it doesn’t sound like 90s R&B, I don’t want it?” Twenty years ago, this is what I thought love and adulthood would sound like. And I suppose it is on some level, but in reality, it’s a lot less romantically existential. As a teen, I thought seeking truth would be a starry-eyed endeavor, its gray areas tortured but beautiful. Not a bunch of demoralizing bargaining. 

That took a turn. The point is, I love this song and Karin Bergquist’s voice.   

(Side note: Personally, I’d amend the phrase to “If it doesn’t sound like 90s shoegaze, I don’t want it.” But hey, that’s just me. And YES I know this isn’t shoegaze, jeez.)

[psychologypsp]

Dancing with the Internet and Other Human Embedded Technologies

Dancing with the Internet and Other Human Embedded Technologies

This is the first in a series of recorded interviews concerning the impact of emergent technologies on the way in which we think, feel and take actions. William Bergquist, Ph.D. conducted this interview with Karin Bustmante, Psy.D., a distinguished psychotherapist and professor living in Boulder Colorado.   https://vimeo.com/545716015   Several of the themes that emerged from this interview…

[atlanticcanada]

Ghost ships, dead pirates and phantoms: MUN student tracks ghastly tales with interactive map

Karin Murray-Bergquist's map of ghost ship stories might be the perfect way to burn a few hours during the pandemic.

from CBC | Newfoundland and Labrador News https://ift.tt/2VJhgOh

[morecowbellliv]

Beautiful. Inspiring. Over the Rhine. Music that will make you a better person.

Over the Rhine, a husband and wife duo from Ohio, have created a music catalog over the past couple of decades that encompasses a soulful inspiring existence. Linford Detweiler and Karin Bergquist have a mesmerizing presence that transcends across the stage and leaves you captivated throughout their entire performance. Being a fan for almost two decades, thanks to an old roommate of mine who has…

[istayedmostlyfortheinterviews]

Listen kids, I’ll post the entirety of the album The Trumpet Child all up on this here blog, don’t think I won’t. If it takes all night and the love and respect of any follows I may have amassed bot or otherwise, I’ll fuckin do it, don’t you dare even doubt I will.

[sabryna88rsi]

Lasciami entrare (2008)

Cliccare QUA per il film su AKvideo

Cliccare QUA per il film su WStream

Låt den rätte komma Svezia, 2008 Genere: Horror Regia di Tomas Alfredson Con Kåre Hedebrant, Lina Leandersson, Per Ragnar, Henrik Dahl, Karin Bergquist, Peter Carlberg, Ika Nord, Mikael Rahm, Karl-Robert Lindgren… TRAMA DEL FILM: Oskar è un bambino fragile e ansioso che vive nei sobborghi operai di Stoccolma e che viene…

[vitos-ordination-song]

my mom hates women so much that she said they can’t write music as well as men and used this band as an example, it’s a husband and wife couple where the wife does more of the singing and the husband does more of the songwriting... a song of theirs was playing she didn’t like and she was like see, this one was clearly written by Karin Bergquist. I looked it up and that wasn’t even true, both of them were credited as writers... anyway she’s fucking wrong because I know for a fact that Karin was the sole writer of this song and it’s my favorite on the album for sure.

[janklimas]

Betting on the Muse.

- Karin Bergquist & Linford Detweiler – Over The Rhine 

Another golden evening is dying on the vine A rehearsal for the final act When the light that's lost is mine All this blinding beauty has left me no excuse.

I know the sun is setting Who knows where it’s heading? I'm still betting Betting on the muse.

[doomonfilm]

Thoughts : Let the Right One In (2008)

In the canon of scary monsters, few have the established lore or vast range of stories comparable to that of the vampire.  There are literally scores of vampires movies out there to be discovered, but many of them tend to follow a familiar, similar formula.  To find a take on vampires that is new and unique is a refreshing experience.  Of recent memory, one of my favorite alternative takes on the vampire narrative (that still stays true to the established rules and legends) is Let the Right One In. 

Oskar (Kare Hedebrant) is a shy 12-year old living with his mother Yvonne (Karin Bergquist) in a small, tight knit Stockholm community around the early 1980s.  Oskar often finds himself the target of bullying by Conny (Patrik Rydmark) and his group of friends, and therefore spends most of his time alone in his room or in the courtyard of his apartment complex.  Meanwhile, a pair of mysterious neighbors move in next door to Oskar : Eli (Lina Leandersson), a young girl who seems reluctant to interact with anyone around her, and Hakan (Per Ragnar), her older and extremely protective caretaker.  Upon meeting Eli, Oskar is intrigued, but Eli warns him to keep his distance... despite the warning, the two develop a strong friendship bond.  Meanwhile, members of the community begin to notice an increase in missing people, discovered bodies and gruesome crimes, all due to Hakan and his quest for blood to provide to Eli in order to keep her alive.  During one of these expeditions, Hakan is discovered, and in an effort to protect Eli, disfigures himself.  Eli visits him in the hospital, feeds off of him, and assists him in committing suicide, meaning she is now forced to survive on her own.  Due to her bond with Oskar, which has helped him find a confidence he did not know he had, she turns to him for help, changing the course of both of their lives forever.

The way this film balances its narrative threads to tie together one overarching story is brilliantly executed.  Oskar alone has 3 strong storylines that could dominate films in their own right : his love story (and coming of age) with Eli, the mysterious new neighbor; his attempts at dealing with, and eventually overcoming, the torment of his bully Conny; and, his attempts at coming to understand his family dynamic, with a mother that loves him but hovers and will not allow him to grow, and a father that is equally loving but in a relationship that Oskar is not mature enough to understand.  The town is going through its own story, with a string of violent crimes suddenly occurring in an otherwise quiet location that rock the entire dynamic of the town and its inhabitants.  And, of course, we have the story of Eli and Hakan, a vampire and her caretaker, attempting to follow the rules it takes to keep Eli alive while going undetected.

Let the Right One In, in the regard, is an extremely unique take on the vampire narrative.  To my knowledge, it does a great job of perpetuating most of the vampire mythos established in history and pop culture, including needing to be invited in, deadly reactions to sunlight, sleeping in a coffin (even if it’s a makeshift one), feeding on blood, and a violent reaction from cats.  The way that these elements are integrated into the narrative, and the way it also helps establish that feeling of paranoia that prevailed in the 1970s and 1980s when it came to the nature of crime changing, helps make the story both easy to relate to and fluid in the way it carries itself forward.  There are no wasted moments in this film, as anything that does not serve to move the narrative forward either gives us emotional information or insight into one of our leads.

Despite the winter-heavy location, there is a sense of color to this film that gives it life and hope in what would otherwise be a bleak setting.  The way that the 1980s is mixed into the production design is subtle but highly effective, giving us the sense of it being a period piece without having to broadcast so.  The look is definitely there, but it’s the feel of the times that this film does a great job in portraying.  The horror elements are measured and used wisely, especially the ones concerning Virginia, which not only show you some of the more spectacular parts of the vampire narrative that many probably wanted to see, but it makes you think about all that Eli has done to survive by comparison, adding weight to an otherwise already heavily textured world.

Kare Hedebrant gives an incredibly compelling lead performance for a young actor, managing to show how an isolated young man keeps himself sane, allowing range for love and validation, and still being vulnerable enough to show fear.  In comparison, Lina Leandersson is equally compelling, allowing a wisdom and sense of presence that would emanate from a seasoned veteran actor flow through her, and completely selling the savage side.  Per Ragnar not only is a fearful presence in the film, but the shades of love he shows for Eli make us forgive his actions in his final moments.  Peter Carlberg transitions seamlessly from the life of the party to a broken man, especially paralleled with Ika Nord’s powerful performance in her final moments.  Patrik Rydmark is wonderfully persistent and offbeat in his role as Oskar’s tormentor.  Appearances from Henrik Dahl, Karin Bergquist, Karl Robert Lindgren and Pale Olofsson also stand out.

I would definitely recommend Let the Right One In to fans of horror and vampires, but I would not limit my recommendation to just those qualities.  Outside of it’s obvious veneer, the movie holds up as an all around strong film, and while it executes those horror elements quite well and uniquely, to limit it to just that realm would be shortsighted.