Avalon

A Fasad and Idyll presentation. (Worldwide sales: Trustnordisk, Hvidovre, Denmark.) Created by Erika Wasserman, Jesper Kurlandsky. Co-producers, Gunnar Carlsson, Jessica Request, Lars Hermann, Lars G. Lindstrom. Directed, compiled by Axel Petersen.With: Johannes Brost, Peter Carlberg, Leonore Ekstrand.Bona-fide scoundrels are rarely a movie's focal point, and also the character in the center of helmer Axel Petersen's splendid debut feature "Avalon," does not quite become qualified as a tough-core villain. Still, the baggy-eyed ex-party boy, ex-felon, club promoter and general reprobate, performed by Johannes Brost, is really a longshot for sympathy, making Petersen's moral juggling act appear even more impressive. The typical distrib obstacles will affect this Swedish-language production, but Petersen is really a talent to look at, and niche houses could do respectable biz having a film that echoes the best of latest Scandinavian art cinema. The 1980s haven't ended for Janne (Brost). True, he's just become free from a court-purchased ankle bracelet (what he did to deserve it is not quite described), however he's gone into partnership with Klas (Peter Carlberg), to spread out a brand new nightclub within the Swedish and surrounding suburbs, known as Avalon (inspired through the Roxy Music hit, that is area of the soundtrack). Klas went with a shady sources for financing, but all is certainly going well- it's tennis week at Bastad and also the clients are arranging. Then Janne and the equally irresponsible sister, Jackie (terrific first-timer Leonore Ekstrand) go consuming and driving, knock lower some scaffold, and kill a Lithuanian immigrant who's been focusing on the rooftop. For many of their first half, "Avalon" is really a dogma film: It's shot under sun light, without melodramatic makes use of in to the story, and there's no music, save for which comes via a vehicle radio or PA system. This tactic changes eventually (and effectively, with the aid of Julian Hruza's score), however the atmosphere produced up to the stage of impact is really as spare as Janne's soul: When he digs the dead youthful guy from underneath the remains, he gives no considered to calling law enforcement -- or even the victim's family, or his girlfriend, who turns up searching for him. Your body is eventually discarded by a couple of Klas' "bankers," who are not only seen expecting their share of profits in the club, but something fee for body removal. Janne is really a fascinating void, a moral bankrupt and damaged beauty: Although broken from many years of alcohol and drugs, he maintains a particular charisma -- the facial lines and from time to time vacant stares not able to totally disguise the handsome guy beneath. Brost, who makes Janne wonderfully debauched and corrupt, also moves just like a guy who's maintained his youth. That image is contagious -- and causes it to be doubly terrible when Janne's world begins to spins unmanageable, and something watches him falling apart from inside. Brost's performance is amazing, and largely internalized: He is ideal when quiet, and thinking, not so deeply and not so profoundly, however in context of how to prevent responsibility. Ekstrand, helmer Petersen's aunt, is really a find, and Carlberg has several startling moments, including one where he returns towards the club and discovers the Lithuanian is dead. Shock is really a cliched emotion in film Carlberg causes it to be fresh. The denouement of "Avalon" is itself rather shocking, but only when the first is expecting reform, rehab or guilt. The pic is really a fascinating and ultimately haunting movie, partially due to the way in which Petersen choreographs his figures, but additionally due to individuals figures themselves. Production values are fine, including some spectacular cinematography by Guys Mansson.Camera (color), Guys Mansson editor, Theis Schmidt music, Julian Hruza production designer: Ellen Oseng costume designer: Denise Ostholm seem (Dolby Digital), Robert Hefter, Lars Wignell. Examined at Toronto Film Festival (Discovery), Sept. 13, 2011. Running time: 76 MIN. Contact the range newsroom at news@variety.com