Solveig Nordlund

Solveig Nordlund (born June 9, 1943) is a Swedish-Portuguese filmmaker.

Solveig Nordlund
Born
Solveig Nordlund

(1943-06-09) June 9, 1943
Stockholm, Sweden
NationalityPortuguese
OccupationDirector
Years active1976-presents

Biography

Nordlund grew up in Stockholm and has a BA degree in Art History from the University of Stockholm. In 1962, she met Alberto Seixas Santos, whom she married, and her interest in cinema grew. In 1970, this interest transformed into a profession when she became an assistant on several films: Quem Espera por Sapatos de Defunto Morre Descalço by João César Monteiro (1969–1970), O Recado by José Fonseca e Costa (1970–1971), Pedro Só by Alfredo Tropa (1970–1971), and Fragmentos de Um Filme-Esmola by João César Monteiro (1972). With Brandos Costumes, by Alberto Seixas Santos (1973–1974), her name began to enter the credits as editor. She worked on editing the films of many directors, such as Manoel de Oliveira, João Botelho, Alberto Seixas Santos, and Thomas Harlan, as well as political documentaries.

In 1973-1974 she received a scholarship from the Calouste Gulbenkian Foundation and completed internships in Paris under the guidance of, among others, Jean Rouch. In 1974, she was in Cinequipa and, in 1975, Cinequanon, where she worked as an editor on TV series. As the founder of the Grupo Zero, Solveig participated in some films that were directed by multiple filmmakers, such as A Lei da Terra (1976). In 1978, she made her debut as an individual director in fiction films with Nem Pássaro, Nem Peixe.

She directed several films in collaboration with the Cornucopia Theater that were based on the plays of Franz Xaver Kroetz (Música Para Si, Viagem Para a Felicidade, both in 1978 and Outras Perspectivas in 1980) and Karl Valentin (E Não se Pode Exterminá-lo? - 1979). Her first feature film was Dina e Django (1983), followed by Até Amanhã, Mário (1994), Comédia Infantil (1998), Aparelho Voador a Baixa Altitude (2002) and A Filha (2003). She also directed short films and documentaries about writers, such as Marguerite Duras, J.G. Ballard and António Lobo Antunes. She is the founder of the independent film production company Ambar Filmes.

In 1998, she made her debut as a theater director with A Noite é Mãe do Dia, by Lars Norén, while working for Belém Cultural Center and Teatro da Malaposta. She currently collaborates with Artistas Unidos, where she has directed the plays Vai Vir Alguém (Someone Is Going To Come), Sonho de Outono (Autumn Dream) by Jon Fosse, Traições (Betrayal), Há Tanto Tempo by Harold Pinter and Scenes from a Marriage by Ingmar Bergman.

Filmography

As Director
  • Conversas no Cabeleireiro, documentary series about: Sofia Areal, Purificação Araujo, Leonor Keil, Isabel do Carmo an Ana Bacalhau (2013)[1]
  • Amanhã (2003)
  • A Filha (2003)
  • Aparelho Voador a Baixa Altitude (2002)
  • Spärrvakten (1999)
  • Uma Voz na Noite (1998)
  • Comédia Infantil (1998)
  • António Lobo Antunes (1997)
  • I morgon, Mario (Até amanhã, Mário) (1994)
  • Bergtagen (1994)
  • Vad hände katten i råttans år? (1985)
  • Dina e Django (1983)
  • Música Para Si (1979)
  • Nem Pássaro Nem Peixe (1978)
  • A Lei da Terra (1976) - Grupo Zero

As Editor (major works)
  • I morgon, Mario (Até amanhã, Mário) (1994)
  • A Casa de Bebel, by Jonas Cornell, Swedish TV series (1981)
  • Passagem ou a Meio Caminho, by Jorge Silva Melo (1980)
  • Alexandre e Rosa, short by João Botelho and Jorge Alves da Silva (1977–1978)
  • Amor de Perdição, by Manoel de Oliveira (1976–1978)
  • A Lei da Terra(1976) - Grupo Zero
  • Moçambique – Um Programa Comemorativo da Independência (1975)
  • Um Jornal Regional em Autogestão – “O Setubalense”, short by Amílcar Lyra (1975)
  • Greve na Construção Civil, shor Cinequanon (1975)
  • Brandos Costumes, by Alberto Seixas Santos (1975)
  • Desapareceu, TV series, Cinequipa' (1974)
gollark: You could distribute fake pirated versions with a watermark, and then give people a paid version without it.
gollark: I see.
gollark: So the watermark... only works in certain situations anyway.
gollark: I think this is one of those belief in belief things. Anyway, people can cheat and *not* record it, no?
gollark: The laws of physics/logic/etc do not forbid changing religion. You can also do the popular thing of "keeping" it but ignoring inconvenient bits.

See also

Cinema of Portugal

Cinema Novo

Bibliographical References

"RAMOS, Jorge Leitão". Dicionário do Cinema Português (1962–1988). Editorial Caminho, SA, Lisbon, 1989

References
  1. "Conversas no Cabeleireiro - Episódio 5 - RTP Play - RTP". RTP Play. Retrieved 2017-01-12.
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.