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Director's Statement
When I started working on CALL GIRL I thought I was doing a pure conspiracy thriller, strongly flirting with some of my favourite American films of the 70s, very plot-driven and inspired by a true political scandal in Stockholm in the mid-70s. In a way, everything was in the script, but the more I got involved in the process of researching, casting and later, shooting the film, I felt I had to get into the grey zones of all the characters in the plot, trying to give them as much depth as possible, letting them be contradictory, not clearly good or bad. Visually I was looking for something rough and close to skin but also glittery and colourful, with some sort of cinematic poetry. CALL GIRL is a story of lost innocence: the young girls’, the police’s, the politicians’. Weaving together multiple storylines to tell a larger tale of society and of humanity, it’s a personal social thriller about Sweden in a time of sexual liberation and confusion.