Eli Anne Linnestad
The small town of Pinchcliffe is experiencing a great lack of snow, which is why the inventor Reodor Felgen is asked to create a snow machine. However, things does not go as planned.
Follows the Junior Olsen Gang as they hunt down missing tax money stolen from a bank in 1835.
A drama focused on Norwegian society in the 1970s, an era politically influenced by Marxism and Leninism.
In Northern Norway during the 1860s, a little girl named Dina accidentally causes her mother's death. Overcome with grief, her father refuses to raise her, leaving her in the care of the household servants. Dina grows up wild and unmanageable, with her only friend being the stable boy, Tomas. She summons her mother's ghost and develops a strange fascination with death as well as a passion for living.
When his mother, who has sheltered him his entire 40 years, dies, Elling, a sensitive, would-be poet, is sent to live in a state institution. There he meets Kjell Bjarne, a gentle giant and female-obsessed virgin in his 40s. After two years, the men are released and provided with a state-funded apartment and stipend with the hope they will be able to live on their own.
Dimwitted, somewhat misanthropic Oslo mail carrier Roy's quiet life changes dramatically on the day he steals a set of keys and lets himself into the apartment of a deaf woman who seems to be in trouble with a psychotic criminal. Though he doesn't know it at the time, his and her fate are about to intertwine and this is not going to be to his benefit.
A great crazy-comedy from Wam & Vennerød. Bryllupsfesten (English: The wedding party) is a 1989 Norwegian comedy film written by Petter Vennerød, and directed by Vennerød and Svend Wam, starring Knut Husebø and Eli Anne Linnestad. Businessman Carl Otto "Totto" Holm (Husebø) is on the verge of bankruptcy, and plans a staged robbery of the family's Munch engraving.
Marion is born limp and with a scarred face. Georg is also limp after a car accident. it takes more than a man to go together.
«What do you really want», Jan shouts to Reidun. They are a young couple, but their relationship is brittle and seems to be dissolving due to both internal and external pressures. On the weekend they invite another couple for dinner, but the companionship and fun are gradually destroyed by quarrels and infidelity. Still, the two women finally seem to find understanding and solidarity in eachother. Week-End depicts how the political also permeate the private, in a way both original and typical of its age. The tension between old and new gender roles is one cause of the problems in the relationship between Reidun and Jan, but the political is just one aspect in a film that also deals with emotions, relations and identity. Week-End is rooted in 1970s social modernism, mixing modernist storytelling strategies with a political sub-theme of female identity and solidarity
Viveca is 31, divorced, and has a son of 6 years. She and her friend Aud have left the hectic everyday life and moved in with bohemians and artists. We follow these two women for five days, as they come in contact with many different people. One of Svend Wam's very first films.
