Sweden, Denmark, 2018, 113′
In X&Y the model of society is even more reduced, basically to the size of a bedroom. As the title suggests, the manifestation of masculine and feminine under the sexual dynamic is central. Anna Odell and Mikael Persbrandt, play themselves. They act out their own public personas and in the most general level, the archetypes of a “Crazy Woman” and an “Alpha Male”. Since it’s 2019, things are not simplistic anymore and we all know that gender and sexual identity is not a given. Being a man or a woman, is much more than a chromosomal combination of xx or xy – it’s a result of social expectations and conditioning. This progressive belief opens doors of individual freedom, the corner stone of the western societies. If gender is asocial construct, why should society decide who we are – sexual identity should be the question of a personal choice. Gender binary is out, gender range is in. It’s not surprising that for depicting a contemporary, multiple-sided personalities, two people are not enough. So Anna – the artist without boundaries – Odell is additionally played by Vera Vitali, Jens Albnus and Sophie Grabål. While Mikael – the famous yet edgy actor – by Thure Lindhardt, Shanti Roney and Trine Dyrlom. Two people – eight actors.
Swedish conceptual artist and film director. She graduated from two of the most highly valued institutions in Sweden: University College of Arts, Craft and Design, and the Royal Institute of Art. In 2009 her graduation work, Unknown, Woman 2009-349701, was an intervention in the public space. She staged a psychotic attack on the Stockholm bridge, and was taken away by the police to the psychiatric hospital. The take on the mental health institution in the spirit of Faucault’s ‘Madness and Civilisation’ made the headline of all Swedish newspapers as a case of the critical art gone too far. In 2013, in her feature debut The Reunion she reenacted the class reunion between the former classmates after 20 years, exploring the tensions between the victim, the bullies and the observers at schools. The film was selected for Critics’ Week at the Venice Film Festival and won a number of awards, among them two Guldbagge Awards, Sweden’s top movie honor, for film and screenplay. In contrast to many other critical artists, in her work the investigations get a twist of cinematic form and subversive humor.