Emmeli Stjärnfeldt

The influencer Isabell is going to test Punani Steam in front of her followers. But what was supposed to be a shiny beauty post gets unforeseen consequences and when Isabell tries to explain the situation to the uncomprehending nurse over the phone, it all seems far from her glamorous internet persona.

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Musse is a mannerly local doctor trying to live by the rules, but the challenges from his environment threaten his ability to control situations and he becomes the person he despises.

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Erin escapes from a brothel. Desperate for money she cheats her way into a job at a nursing home but ends up stealing cash and going on the run, kidnapping one of the patients in the process. But Erin's frantic escape gradually turns into an inspirational and revealing road trip due to the unconventional relationship which develops between her and her kidnap victim, a seventy-year-old man.

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An artist has chosen a famous male actor for them together, in the context of a feature film, to deconstruct themselves and their invading roles. They engage in a boundless play with their surroundings in an exploration of identity, male and female.

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A support worker at an isolated residence gets disturbed when a silent newcomer arrives, dressed as a western heroine.

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Jane Martin (25 years old), young graduate, is recruited by the Doctor Faye's clinical, "the clinical for healthy sex". Through her maturity, self-confidence and great sexual experience, she requires the obvious qualities to become a good therapist. But Jane does not respect all the rules with her patients and becomes more closer with them. Ignoring the warnings of Dr. Faye, Jane puts her patients and herself in danger.

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The girlfriend Klara has recently fallen in love and wants nothing more than to hang out with her boyfriend. The mother-of-two Anna clocks how long it takes for her husband to cook baby formula. The ex-wife Vera can't let go of her ex-husband. The feature-film debuting Katja Wik presents a squib right on the money about women's tendency to, both consciously and unconsciously, limit themselves in their close relationships of two. Each frame conveys the film's theme of power manipulation and Katja Wik's neologism "victim-mentality rhetoric" (offerrollsretorik) is used by all parties as an effective weapon. Without stagnating in bitterness, The Ex-wife serves as a funhouse mirror reflecting this disturbing trait, which most of us can recognize, but which few dare to acknowledge

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Erika is mentally bruised and starts group therapy with people seeking absolute anonymity.

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A short film about women who is comfortable in their role as victims.

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