This was a work about sorrow. I had to face, every day during shooting, the most awful thing in life: the loss of a child and a wife. The difficulties to talk about it, the problem of having to walk around with grief in your heart and just trying to survive. I hope that this film can help people to find courage to open up and go on with their lives. I feel so proud over the way we acted together, me and my son in the film, Anastasios Soulis. We also played together in the film Home Sour Home.

Official site & trailer
Production company

Here I play a Swedish hero, the Ambassador Edelstam. He lived and worked in Chile as an ambassador during Pinochet's coup d'état in 1973. Edelstam acted like Shindler and saved over three thousand people from torture and murder. A man who did not feel any fear at all, a word he did not even know. How do you play a man like that? I was helped by the fact that we filmed everything on location in Santiago. One day we entered the lower corridors located below the Stadium. The Stadium had been used as a torture and execution center. All of a sudden the team from Chile started to say things like: In that room my father was tortured, and in room number seven my uncle was shot and so on. In that very moment it felt I had to make a documentary.

Official site & trailer

The first part I have ever done playing a musician. How do I look upon the world through my ears? As an actor I work with my memories, analyzing peoples behaviors and doings, trying to make an activity sensual and believable. But how does a musician work? How to read life through music? I practiced to play the violin every day, took my conductor lessons and listened to classical music all the time. When I did my shopping, all the time when working out. And one day when I had Mahler's symphony number 8 on loud, I heard the communication in it. There it was; anger, loss, longing and dreams. I was in the music and I was ready to start working with my part as Daniel.

Information & trailer

To work with Lukas Moodysson is to do everything to a hundred percent. And making 'Toghether' was really a trip. The stage set was all from the seventies. If I opened a drawer I found pencils from the seventies, notebooks from the seventies, everything. Even if we would not film there in that particular room, the whole house was a time travel just to help us actors. One evening I found a telephone catalogue while waiting to film a scene in the hallway. I looked up my fathers phone number, his first after my parents divorce, and my time travel was total.

IMDB