Hrafn Gunnlaugsson

Håkan Juholt came from the reserve bench and became captain of the whole team. A high-stakes bet that hardly anyone had dared to bet on. But after only 303 days, Håkan Juholt's time as party leader for the Social Democrats was over.

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Deciding to track down Odd Nerdrum’s sources of inspiration, his former pupil Jan-Ove Tuv and his son Öde go on a world tour, visiting the museums and people that crossed paths with the painter in his pursuit of the immortal masterpiece.

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Hrafn Gunnlaugsson who put the Icelandic film industry on the world map in the seventies with films set in modern Iceland and the Viking age - here takes on the documentary form in a way only a feature film director could. Giving his imagination full scope, the director creates image of an alternative future - presents a diffrent view of the capital, Reykjavik, and questions accepted ideas about his country, Iceland.

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Based on an interview with Ingmar Bergman and footage taken during the director's visit to the Reykjavík Art Festival in 1986, this film focuses on Mr. Bergman's methods and philosophy on film direction.

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The Guldbagge Awards is an official and annual Swedish film awards ceremony honoring achievements in the Swedish film industry. Winners are awarded a statuette depicting a rose chafer, better known by the name Guldbaggen. The awards, first presented in 1964 at the Grand Hôtel in Stockholm, are overseen by the Swedish Film Institute. It is described as the Swedish equivalent of the Academy Awards. The awards ceremony was first televised in 1981.

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The Icelandic parliament has been presented with a bill which will allow the Institute for State Supervision to create a SuperCode Databank which will centralize all other databanks based on personal ID numbers; with this SuperCode the Institute can follow and monitor everyone’s behavior. Hannes, a middle-aged man who still lives with his aging mother, works at the Institute, and he is the originator of the idea. Hannes has already secretly started working on it on his computer, even though it is uncertain that Parliament will agree to it. Hannes is in love with Stefania, the new secretary in the Institute, and hopes to impress her with his “private” SuperCode Databank. But one day, Hannes’s computer, containing the databank, is stolen. Hannes is afraid of the consequences if it is discovered he has been working on the SuperCode illegally. He starts trying to catch the thief himself only to become a victim of the very systems he has believed in and worked so hard to strengthen.

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Hrafn Gunnlaugsson who put the Icelandic film industry on the world map in the seventies with films set in modern Iceland and the Viking age - here takes on the documentary form in a way only a feature film director could. Giving his imagination full scope, the director creates image of an alternative future - presents a diffrent view of the capital, Reykjavik, and questions accepted ideas about his country, Iceland.

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The young and fanatical Jon is appointed pastor to a remote church in 15th century Iceland. As is custom, he marries the widow of his predecessor, a woman much older than he is. He is ardent in his fight against Satan, and the villagers don't dare to question his authority. When he falls for a beautiful young woman, Jon is convinced witchcraft is at work, and his crusade leads to cruel executions of innocent people. The stronger his lust, the deeper his madness drives him in his religious fervor.

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A young boy is spending the summer on his uncle's horse farm. He takes care of the sheep and plays cowboy but is suddenly drawn into the world of adults when his uncle meets the woman of his dream. The boy follows how his uncle tries to seduce this beautiful lady - with both happy and tragedic consequences.

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A seven-year-old boy is sent to a farm on a remote island, when his mother goes abroad. On the island the boy gets to know a twenty-year-old woman who seems willing to take on a mother's role. But the boy is reaching an age of sexual awareness and instead of regarding her as a mother figure; he falls obsessively in love with her.

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Norway in the 10th century. Askur, son of the powerful Thorgeir marries Embla, daughter of one of the few remaining landowners in Norway, in a pagan ceremony. King Olav, a ruthless christian, wants to eredicate all traces of non-christian beliefs and captures the two of them during the ceremony. In order to free Embla, Askur must go to Iceland and convert the people there to catholicism.

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Based on an interview with Ingmar Bergman and footage taken during the director's visit to the Reykjavík Art Festival in 1986, this film focuses on Mr. Bergman's methods and philosophy on film direction.

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Trausti returns to Iceland just in time to be entangled in a family feud over a stranded whale-cadaver. His mother (the family head) is mortally wounded and Grim kills Erikur; the other clan leader. Isold, daughter of Erikur now takes his place. Isold and Trausti are attracted to each other, but Isold was promised to Hjoerleifur - the son of the Bishop (of Iceland) and his powerful wife. However, Isold has a plan...

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Sweden, beginning of the 18th Century. Executions are popular entertainment and brothels a given. Still the executioner and the whore are both despised and shunned. The executioner became executioner against his will and the whore, only 17 years old, was forced into the brothel. This is the story of how the two meet and exchange cruelty with tenderness, guilt with innocence.

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A dramatized documentary about the capital of Iceland, Reykjavík. The city is seen through the eyes of a visitor, a Canadian girl of Icelandic descent, who marvels at the many charms and peculiarities of Reykjavík. The film was made on the occasion of the 200th anniversary of the city.

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Vikings pillage Ireland, seeking silver and slaves, slaying men and women in the process. A young boy is spared when a Viking takes pity on him instead of killing him. Twenty years later the boy returns to Iceland take his revenge.

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A country boy has to quit school in Reykjavík and move back home.

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The television adaptation of the 1954 play Silfurtúnglið by Hrafn Gunnlaugsson updates the interwar story of Lóa, a housewife with a beautiful singing voice who delights in serenading her newborn son. Discovered by the dubious Feilan, manager of the nightclub “Silver Moon,” she’s cast as his emblem of purity for the club’s jaded clientele, only to find her talent erased and her performances reduced to humiliation. In the same production, Gunnlaugsson also modernizes Lilja’s 1933 short story “Fótatak manna,” relocating its 1920s setting to the present: medical students exhume the body of a poor, friendless man in the name of science, callously stuffing his coffin with rocks.

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At the beginning of the film, three medical students are hunting for a body to use for research purposes. They hear of a tramp that has been found dead. The body is in the mortuary and as no-one seems to know who he is; they decide to take the body for dissection without formal permission. When the body is placed on the operating table, one of the students recognizes the man, and scenes from his acquaintance with the dead man flash back. At the same time certain things begin to happen that they had not allowed for.

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Two city folk go on a trip to deserted villages around the country, laden with spirits, guns, and other ammunition. The trip is intended as an outing in nature, but quickly the journey turns into pure horror.

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