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.[embedded content] Films can touch us in many different ways. Many are little more than pure time-fillers and escapism. But there are also a few — very few — films that truly mean something. The ones that deeply penetrate our souls and shake us to our core. Kjell-Åke Andersson’s adaptation of Göran Tunström’s masterpiece The Christmas Oratorio — with divinely gifted music by Stefan Nilsson — is one such film. One of the saddest and almost unbearably moving films I know. But perhaps also the most beautiful. A film about the infinite strength and power of love.
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Lars Pålsson Syll considers the following as important: Varia
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.[embedded content] Films can touch us in many different ways. Many are little more than pure time-fillers and escapism. But there are also a few — very few — films that truly mean something. The ones that deeply penetrate our souls and shake us to our core. Kjell-Åke Andersson’s adaptation of Göran Tunström’s masterpiece The Christmas Oratorio — with divinely gifted music by Stefan Nilsson — is one such film. One of the saddest and almost unbearably moving films I know. But perhaps also the most beautiful. A film about the infinite strength and power of love.
Topics:
Lars Pålsson Syll considers the following as important: Varia
This could be interesting, too:
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Films can touch us in many different ways. Many are little more than pure time-fillers and escapism. But there are also a few — very few — films that truly mean something. The ones that deeply penetrate our souls and shake us to our core.
Kjell-Åke Andersson’s adaptation of Göran Tunström’s masterpiece The Christmas Oratorio — with divinely gifted music by Stefan Nilsson — is one such film. One of the saddest and almost unbearably moving films I know. But perhaps also the most beautiful. A film about the infinite strength and power of love.