Sten Stensson Stéen: A dusty, charming headache

Is it worth your time?

Honestly, only if you have a very specific craving for 1930s Swedish slapstick or if you are doing some deep-dive research into the career of Edvard Persson. If you're looking for a tight, logical plot, keep walking. You’ll probably hate it if you need modern pacing, but if you like watching people walk into the wrong rooms and act confused for ninety minutes, you’re home.

Cinematic perspective: Exploring the visual vocabulary of Sten Stensson Stéen från Eslöv på nya äventyr (1932) through its definitive frames.

There is this moment about halfway through where a key is handed over, and the whole thing just goes completely off the rails. It’s not subtle. It’s not even particularly clever. But there’s a genuine, sweaty effort behind it that I can’t help but respect a little bit.

Cinematic perspective: Exploring the visual vocabulary of Sten Stensson Stéen från Eslöv på nya äventyr (1932) through its definitive frames.

The hotel scenes are so cramped they feel claustrophobic. It’s like the set builders were trying to save money on wood. Everything feels slightly off-kilter, like the camera was set up by someone who was running to catch a train.

Cinematic perspective: Exploring the visual vocabulary of Sten Stensson Stéen från Eslöv på nya äventyr (1932) through its definitive frames.

I couldn't help but compare the chaotic, slightly messy vibe of this to something like Rival Romeos. It’s that same brand of 'let's just have everyone yell at each other and see what happens.' It lacks the polish of a modern studio project, obviously, but that’s kind of the point.

Cinematic perspective: Exploring the visual vocabulary of Sten Stensson Stéen från Eslöv på nya äventyr (1932) through its definitive frames.

Thor Modéen is in this, obviously. He’s basically the glue holding the screen together when the dialogue starts to evaporate. He has this way of blinking that makes you think he’s trying to remember if he left the stove on back home. It's oddly hypnotic.

Cinematic perspective: Exploring the visual vocabulary of Sten Stensson Stéen från Eslöv på nya äventyr (1932) through its definitive frames.

The comedy is... well, it's very old school. You know exactly what’s going to happen before it does. The actress gets the wrong key. Sten looks startled. Doors slam. Rinse and repeat until the credits roll.

Some random notes from my notebook:

• The lighting in the lobby is genuinely dark. I think they had one lamp.
• I’m pretty sure someone trips over the same rug twice.
• The dialogue feels like it was written on a napkin during lunch.
• Why is there so much luggage in the hallway?

It doesn't have the grand, sweeping scope of At the End of the World, and thank god for that. Sometimes you just want to watch a man from Eslöv be confused by a theater troupe. 🍿

Don't look for deep meaning here. You won't find it. It's just a bunch of people running around a hotel in Lund. Sometimes, that's enough for a rainy Tuesday afternoon.