LFF 2013: We Are the Best!

Lukas Moodysson gets happy, in a charming but slight tale of schoolgirl punks

share this article

Punk's not dead: Hedvig (Liv LaMoyne), Bobo (Mira Barkhammer) and Klara (Mira Grosin)

The Lukas Moodysson who made Together in 2000 has been missing in action ever since. Its charmingly optimistic look at a Seventies Swedish commune and tremendous use of Abba was followed by severe and sometimes experimental films, self-flagellating and touched with despair, as Moodysson confronted how truly terrible lives can be.

We Are the Best! is, in startling contrast, about a pair of 13-year-old punk schoolgirls in Eighties Stockholm, and fizzes with wide-eyed idealism. Based on his wife Coco’s graphic novel, Moodysson lets his young actresses Mira Barkhammer (as introspective Bobo) and Mira Grosin (as impulsive, fearless Klara) carry the film. Both seem to be having the same bubbling, sugar-rush fun as their characters who, fiercely determined that punk isn’t dead, form their own band with Christian classical guitarist Hedvig (Liv LaMoyne), adding much-needed musical competence on bass.

Romantic rivalry over a schoolboy punk singer (best song: “Reagan Brezhnev Fuck Off!”) only briefly intrudes on the girls’ music-fuelled happiness. Parents and siblings are vaguely annoying but supportive (and in the amusing case of Bobo’s mum, too sozzled with her latest bloke to fully grasp what her daughter’s up to).

The girls are rebellious, but basically content, with no awful authority figures to fight. The result is an appealing but very slight film, by a director who has pumped himself too full of endorphins on his return from the dark side. Girls the age of its heroines may think differently. If We Are the Best! passes on punk’s questioning, can-do spirit, Moodysson will be even chirpier.

Add comment

The content of this field is kept private and will not be shown publicly.
It's appealing but slight, by a director who has pumped himself too full of endorphins on his return from the dark side

rating

3

explore topics

share this article

the future of arts journalism

You can stop theartsdesk.com closing! 

We urgently need financing to survive. Our fundraising drive has thus far raised £33,000 but we need to reach £100,000 or we will be forced to close. Please contribute here: https://gofund.me/c3f6033d

And if you can forward this information to anyone who might assist, we’d be grateful.

Subscribe to theartsdesk.com

Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.

To take a subscription now simply click here.

And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?

more film

Messiaen’s 'Turangalîla' well played, but overwhelmed by a trivialising animation
Another Petzold heroine tries on a different identity in his latest mesmerising drama
Quirky and gripping French horror film, produced under Nazi occupation
Full steam ahead for Rodrigo Santoro and Denise Weinberg
Soap-opera in the Roman style: Ferzan Özpetek's opulent, melodramatic meta drama
The things that got left behind: Max Walker-Silverman directs a film of quiet beauty
The Australian actress talks family dynamics, awkward tea parties, and Jim Jarmusch
Shirts off in a vineyard: Kat Coiro's silly rom-com stars Halle Bailey and Regé-Jean Page
Quite a few bumps in the night in a haunted-internet chiller
A feelgood true story about the Scottish rappers who hoaxed the music industry
The French director describes why he chose to emphasise the inherent racism of Camus's story