Shame on Dry Land

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SwedishSyndabocken
Directed byAxel Petersén
Written byAxel Petersén
Produced bySigrid Helleday
Shame on Dry Land
Promotional release poster
SwedishSyndabocken
Directed byAxel Petersén
Written byAxel Petersén
Produced bySigrid Helleday
Starring
CinematographyJosua Enblom
Edited byRobert Krantz
Music byBaba Stiltz
Production
company
Fedra AB
Distributed by
  • Triart Film
  • LevelK
Release dates
  • 11 September 2023 (2023-09-11) (Toronto)
  • 24 November 2023 (2023-11-24) (Sweden)
Running time
91 minutes
Countries
  • Sweden
  • Malta
LanguageSwedish

Shame on Dry Land (Swedish: Syndabocken) is a 2023 drama film directed and written by Axel Petersén. It stars Joel Spira, Christopher Wagelin, and Julia Sporre.

The film had its world premiere at the 2023 Toronto International Film Festival on 11 September 2023. It garnered nine nominations at the 59th Guldbagge Awards, including Best Director for Petersén and Best Actor in a Leading Role for Spira.

A con man, Dimman, leaves for Malta to surprise a friend at their wedding, but becomes entangled in a large Swedish online gambling community.[1]

Cast

  • Joel Spira as Dimman
  • Christopher Wagelin as Fredrik
  • Julia Sporre as Sara
  • Jacqueline Ramel as Kicki
  • Michal Axel Piotrowski as Krumm
  • Tommy Nilsson as Pierre
  • Erica Muscat as Karmena
  • Owen Sciriha as Nima
  • Susanne Barklund as Mia

Production

In 2019, the project was announced to participate at the Berlinale Co-Production Market, under the working title From Malta to Oblivion.[2] In August 2022, it was announced that LevelK would handle the film's international sales.[3] The principal photography took place entirely in Malta in 2022.[1]

Release

Shame on Dry Land had its world premiere at the 2023 Toronto International Film Festival on 11 September, competing for the Platform Prize.[4] The film was released in Swedish cinema on 24 November 2023.[5]

Reception

Kurt Halfyard of Screen Anarchy gave the film a positive review, calling it "that rare bird of sensual fusion of commercial Hollywood and European arthouse sensibilities".[6] Elena Lazic of Cineuropa praised its "frenetic visual style" and exploration of Dimman's psychological makeup, writing that it " calls back to 1970s neo-noir American films".[7]

Accolades

References

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