Border
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Border

Border in his first novel, ‘Let me in’, the Swedish John Ajvide Lindqvist brought the myth of vampires to the more traditional Border realism of the working-class suburbs of Stockholm in the eighties. Three adaptations later – two feature films, one Swedish and one American, and a television series – the writer has participated in the translation of another of his works, the short story ‘Border’, from the anthology ‘Let the Old Dreams Die ‘(‘ Let the old dreams die ‘), in which fantastic elements are intertwined with an environment of the most pedestrian realism. Between the tale and the criminal intrigue, ‘Border’ is an original and suggestive proposal, stimulating in the constant contrast between beauty and ugliness, tenderness and abjection.

Tina (Eva Melander) is an ugly woman. Very ugly. Of a crude ugliness, almost animal. Her teeth are large, crooked and brownish. The nose of a tough Neanderthal. Rough hair that creeps up her face like a vine. And with a strange scar in the coccyx area. Her father claims that the cause of the injury was an accident in childhood, but she does not remember anything. The woman works as a customs agent at a Swedish airport, detecting any type of contraband hidden in travelers’ luggage. Because among its many peculiarities is the gift of being able to smell people’s feelings, in particular shame, guilt, anger. In one of the searches, Tina finds hidden a card with child pornography. And at this moment ‘Border’ is transformed into ‘noir’ cinema of a Nordic style, with Tina becoming an attachment to the Stockholm police in an investigation to dismantle a network of pedophiles.

Duration: 110 min

Release:

IMDb: 7.0