Journal of Scandinavian Cinema - Volume 14, Issue 2, 2024

This article analyses Aftenlandet (Evening Land), a film made for the Danish Film Institute in 1976 by Peter Watkins, one of the world’s most politically radical directors and a pioneer of docudrama. The aim is to provide a detailed historical account of the life cycle of a key but hitherto critically neglected film in the director’s career: his last to be professionally funded for nearly 25 years and one that saw Watkins working within the very particular milieu of Denmark, investigating, often controversially, the perceived political fault lines of Danish society during the 1970s. The article traces how this English-born filmmaker came to be working in Scandinavia, details the production of Evening Land¹ and provides a close critical reading of the film’s various themes and techniques as well as considering its reception and aftermath. Correspondence and production files from Watkins’ own personal archive reveal the difficulties the filmmaker clearly experienced as something of ‘an Englishman abroad’ attempting to find a place for himself within Scandinavian film culture of the period. The article asserts that this experience eventually contributed to Watkins’ decision to quit Scandinavia altogether following the completion of Evening Land, a decision that would inadvertently propel Watkins out of the world of professional filmmaking for nearly a quarter century. The article argues, however, that Evening Land, a film long obscure and critically neglected, still has cultural resonance and applicability to our own times in the twenty-first century.

Based on research in the archive of the Swedish Peace and Arbitration Society in Stockholm, this article sheds light on the complex production history behind Peter Watkins’ fourteen-and-a-half-hour documentary Resan (The Journey) (1987). Set in a dozen countries around the world, the film presents a complex web of thematic tropes about global peace, consistently highlighting the connection between the local, national and international. The way in which the film subverts documentary form – in terms of both scope and aesthetic strategies – raises questions concerning the institutional conditions within which it was made. Although Watkins’ authorial position between avant-garde and documentary film culture has been investigated in-depth, particularly from a textual point of view, little attention has been afforded the creative struggles permeating the production and circulation history behind this epic documentary. Bridging the gap between the scholarly fields of media activism, useful cinema and documentary film, this study zooms in on the Swedish Peace and Arbitration Society, Scandinavia’s largest peace movement, and their fundraising drive for this film. In doing so, the article provides new information about the negotations that shaped the relationship between Watkins, the activists and the organization that made this film possible.

Through its mixture of similarities to and differences from typical slow cinema practices, Roy Andersson’s Songs from the Second Floor (2000) offers a unique perspective on what slow cinema can be. This is apparent in the film’s mise en scène and cinematography. While the use of long takes, minimalist performances and deep focus fit comfortably within slow cinema tradition, Songs from the Second Floor differentiates itself with its expansive mise en scène, vast set designs and stationary camera. The film further expands on slow cinema with its inclusion of tragicomic humour, which complements slow cinema’s modernist re-appropriation.