7.5/10
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Tillsammans (2000)

In 1975, the dynamics of a Swedish commune begin to change upon the arrival of a beaten wife and her two kids.

Director:

Lukas Moodysson

Writer:

Lukas Moodysson

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14 wins & 14 nominations. See more awards »

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Cast

Cast overview, first billed only:
Lisa Lindgren ... Elisabeth
Michael Nyqvist ... Rolf
Emma Samuelsson Emma Samuelsson ... Eva
Sam Kessel ... Stefan
Gustaf Hammarsten ... Göran
Anja Lundqvist Anja Lundqvist ... Lena
Jessica Liedberg Jessica Liedberg ... Anna
Ola Rapace ... Lasse (as Ola Norell)
Axel Zuber Axel Zuber ... Tet
Shanti Roney ... Klas
Olle Sarri ... Erik
Cecilia Frode ... Signe
Lars Frode Lars Frode ... Sigvard
Emil Moodysson Emil Moodysson ... Måne
Henrik Lundström ... Fredrik
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Storyline

It is the 70s and a group of very different individuals live together as a community. One of the members sister, Elisabeth needs a new place to stay with her children after having had enough of her alcoholist and abusive husband. Elisabeth is neither a socialist, feminist or into the green movement but ends up loving living in the community where they all learn from eachother. The film makes a little fun of people with strong ideals and "square" minds whether they be vegans, communists or people who absolutely disgust vegans or socialists, in the end the message of the film is that people can grow and gain from bonding with eachother. It also shows how we need to shape up a little for this to work, either through working with own behaviour that affects other people badly (like alcoholism or abuse) or the need to set up own boundaries and not let other people walk all over oneself. Written by Maria Norman

Plot Summary | Add Synopsis

Taglines:

one house; one revolutionary; two open straight marriages; three gay people (maybe four); three children; two carnivores and eight vegetarians; there's only one way they're going to make it... together

Genres:

Comedy | Drama | Romance

Motion Picture Rating (MPAA)

Rated R for nudity/sexuality and language | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Sweden | Denmark | Italy

Language:

Swedish

Release Date:

21 September 2001 (USA) See more »

Also Known As:

Together See more »

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Box Office

Budget:

SEK 17,000,000 (estimated)

Opening Weekend:

$506,479 (Sweden), 27 August 2000, Limited Release

Opening Weekend USA:

$24,115, 26 August 2001, Limited Release

Gross USA:

$1,069,156, 3 August 2003
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

The character of Birger, played by Sten Ljunggren, previously appeared in Lukas Moodysson's short film Bara prata lite (1997) which focused on him. See more »

Quotes

Erik: Don't take this personally, but you're so fucking stupid.
See more »

Connections

References Bara prata lite (1997) See more »

Soundtracks

Paddy Fields no. 1
Performed by Tony Hung
With permission from Perry Music / Match Music
See more »

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User Reviews

 
The aesthetics of porridge
16 July 2002 | by SpleenSee all my reviews

Göran is making porridge. For some reason this prompts him to deliver an improvised musing on the theme of Life Is Like a Bowl of Porridge, which goes roughly as follows: "We start as individual oat flakes, each with an individual shape; then we're heated and mixed and we start to blend together with all the other oat flakes; we're no longer oat flakes, but we're part of something larger - something warm, nutritious, and, yes, beautiful." Göran says this as though he's trying to convince himself. And no wonder. The porridge the camera reveals to us looks like repellent glomp.

And up until that point - well, up until a little before that point; the film's arc is like a long walk up a very gentle hill and it's hard to pick the precise moment at which we make it to the top - the collective seemed just as much a dollop of repellent glomp as the porridge. There were too many people too close together, the windows were never open, and for long stretches we never stepped outside, never even caught a glimpse of the outside. Every single room looked and felt as though it were buried in the very centre of the house. It was like living in a fetid warren, and it made me long for something cold and impersonal.

But even as we're gasping to escape we're being won over. In the end the film really IS warm, and it's the pleasing warmth of a fireplace rather than clammy warmth of porridge. The joyousness Moodysson concludes with grew so naturally out of what preceded it that the glow it casts is retrospective. I can't recall a single moment which I don't NOW (having seen the whole thing) recall with fondness.

The LOOK of the film is, in a quiet way, astonishing, except that it's so convincing you forget to be astonished. You'd swear it was shot in the 1970s. (When I saw the trailer I thought was watching an ad for the reissue of a movie that HAD been shot in the 1970s.) This is as great a triumph of art direction as any you're likely to see.


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