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Torsten William Olsson is a 43-year-old teacher, living in a small town. He has never had a woman and is desperate for a romance. When he starts fantasizing about the mother of one of his pupils it is the beginning of a chain of events that will change the lives of himself and others.... Written by
Fredrik Klasson <firstname.lastname@example.org>
The film opens with Torsten, who is a teacher, reading a poem by Swedish poet Stagnelius (a man whom with he shares the same longing.) to his class. He asks if someone can tell what it is about. A kid answers "Maybe it is two who are ... fu**ing?" The class laughs. Torsten thinks about it for a short moment and then says: "Yes, it's a matter of fact you could say that."
Torsten is a 42-year-old virgin. He is in love with Vivianne who work at the cash desk in the local food shop. Torsten has sent anonymous love letters to her. Vivianne is a single parent and her son goes in Torsten's class. Torsten is going to have a talk with Vivianne about Morgan in the school in the evening. He has planned what he will say and that he will ask her out. But things go wrong and the night and the following day is going to be crucial for Torsten, but his life is not the only one who will change.
Torsten is not only described as a romantic man who because of shyness never found a woman. He is also driven by carnal lust. He is tired of teaching uninterested kids and he drinks too much.
Vivianne is also tired of her job and wants a new start. She has lost contact with her son, who is in a difficult age and probably is depressed.
Berit, who works with Vivianne, lives together with Glenn. She's also take care of her old handicapped mom. Something the local police officer and asshole Glenn isn't happy about at all. On top of that she suspects that he's unfaithful.
Tomas von Brömssen, who always is great, makes the character portrait of Torsten to one of his finest ever. Persbrandt is perfect in his role and so is newcomers Anna Wallander and Ia Langhammer.
What a magnificent mood this film has! The pictures looks so great. And, most importantly, is just right for the film. Internationally acclaimed cinematographer Ian Wilson has made dazzling images. The lighting contributes to the mood and so do the production design and peculiar music.
Debut screenwriter Håkan Lindhé has really written a different story. In the hands of Leif Magnusson who made Den gråtande ministern and Kvinnan i det låsta rummet. Two mini series who is something of the best made in that format. Now he has created another masterpiece.
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