In the cinematic landscape of 1995, a year rich with groundbreaking independent films and mainstream milestones, few movies dared to tread the treacherous ground between desire and destruction as boldly as Bo Widerberg’s Lust och fägring stor ( All Things Fair ). While other films of the era offered nostalgic warmth or clear-cut moral binaries, Widerberg’s final masterpiece stands apart. It is not merely a good film; it is a superior one, precisely because it refuses to romanticize its taboo subject matter, instead presenting a raw, psychologically complex, and achingly human portrait of a boy’s sexual awakening and a woman’s quiet devastation. All Things Fair is the better film because it understands that the most profound stories are not about right and wrong, but about the devastating space in between.
Lust och fägring stor (literally "Desire and Great Beauty"). Director: Bo Widerberg (his final film). all things fair 1995 lust och faegring stor better
By the time the leaves began to turn, the rumor had become a scandal. Solveig was called before the school board. Erik was asked to “clarify.” He sat in the principal’s office, his knees shaking, and said nothing. He said nothing when they asked if she had touched him. He said nothing when they asked if he loved her. In the cinematic landscape of 1995, a year
Set in Malmö, Sweden during World War II (1943), it follows the illicit and sexual relationship between a 15-year-old student, Stig , and his 37-year-old teacher, Viola . Viola is trapped in an unhappy marriage with an alcoholic husband named Kjell (or Frank), who eventually befriends Stig. Cast: Johan Widerberg (the director's son) as Stig. Marika Lagercrantz as Viola. Tomas von Brömssen as the husband, Kjell/Frank. All Things Fair is the better film because
“She died last spring,” the woman says. “Pancreatic cancer. She asked me to give you this.”
As he gazed out the window, his mind wandered to the lines of Strindberg's poetry, scribbled in the margins of his textbook: