Become a member to attend Film i Malmö film screenings!

Hypnos Theater, Norra Grängesbergsgatan 15. Please arrive early. Doors open 30 minutes before showtime.

If you want to volunteer, just message us on facebook (or email owen at owen@filmimalmo.se), and let us know which screening you are interested in coming to – then we’ll ask you to show up 30 minutes before the doors open, and we’ll train you smoothly into your first – guided, supervised, and sweet – volunteering experience with the actual audience.

Film i Malmö SWISH: 1232187490

Thursday | February 29 | 19:30

*****Queer Thursdays*****


Drama – Romance

Ira Sachs

US, 2014, 94′, English with English subtitles

Ira Sach’s LOVE IS STRANGE (2014) revolves around a senior gay couple in Manhattan, New York: Ben, an obscure painter and George, a music teacher in a Catholic school. After gay-marriage has been legalised, they finally tie the knot after 39 years together with their love being blessed by friends and family. But the segueing repercussions cost George his job due to the obvious prejudice among those religious conservatives, and the unforeseen financial plight forces them to sell their apartment and live with their relatives and friends – yet as none of them have extra rooms for both they have to spend the transitional time separately.
Under the pervasion of classical music pieces, Love is Strange is alternately heart- warming, heart-touching and heart-rending, Ira Sachs perfects his narrative strategy and it turns out to be an unheralded gem not just from the viewpoint of queer cinema, but a brutally honest take on senility and appeals for an authentic mutual esteem among each and every soul on the earth.
(IMDB user review)

Monday | March 4 | 19:30



Biography – Drama – History

Ava DuVernay

UK / France / US, 2014, 124′, English with Swedish subtitles

“Selma” is not a manifesto, a battle cry or a history lesson. It’s a movie: warm, smart, generous and moving… – The New York Times

In 1965, Dr. Martin Luther King, Jr. leads a dangerous campaign to secure equal voting rights in the face of violent opposition. The march from Selma to Montgomery culminates in President Johnson, signing the Voting Rights Act of 1965, one of the most significant victories for the civil rights movement.

This March we are celebrating female directors and their trailblazing work.

Ava DuVernay is a director, writer, and producer who has been at the helm of films including “When They See Us” (2019), “A Wrinkle in Time” (2018), and “Selma” (2014). She made her film debut with the documentary “This is the Life” (2008), a history on hip hop movement that flourished in Los Angeles in the 1990’s. Her second feature, “Middle of Nowhere” (2012) won the Best Director Prize at the 2012 Sundance film festival, making her the first African-American woman to receive the award.

Thursday | March 7 | 19:30



Comedy – Drama – Romance

Ella Lemhagen

Sweden, 2008, 103′, Swedish with English subtitles

Patrik 1,5 (2008) is a Swedish comedy-drama where a gay couple adopt what they first believe to be a 1,5 year old baby, Patrik, only to have him turn out to be a homophobic 15 year old teenager by the power of a misplaced comma.

“This is a lovely, gentle, intelligent and totally believable movie that explores so many different themes through the simple premise of a gay couple wanting to adopt a child and not getting exactly what they had expected. While the ending may be predictable – and completely satisfying! – it is the getting there that makes this movie so good. The movie explores homophobia, social expectations, delinquency, relationship dysfunction and more and does so in a way that is not preachy or overly emotional or sensationalised. It is all low-key and completely believable. This is combined with great acting, truly likeable main characters and an engaging story and makes for a wonderful movie”
(IMDB user review)

Monday | March 11 | 19:00



Documentary – Biography – Sport

Clare Lewins

UK, 2014, 111′, English with Swedish subtitles

Unprecedented access to Muhammad Ali’s personal archive of “audio journals” as well as interviews and testimonials from his inner circle of family and friends are used to tell the legend’s life story.

******CLARE LEWINS *******
This March we are celebrating female directors and their trailblazing work.

Clare Lewins is a documentalist and a writer, known for I Am Ali (2014), Kareem: Minority of One (2015) and Perspectives (2011).

Tuesday | March 12 | 19:30



Crime – Drama – Sci-Fi

Kathryn Bigelow

US, 1995, 145′, English

In the dystopian future year of 1999, Los Angeles is a city on the verge of breakdown, with constant riots, gangs roaming the streets and technology gone amock. The most popular drug of the time is called SQUID. Memories and sensations gets recorded directly from the cerebral cortex on to mini-disc type media, which are then sold as a commodity, making it possible to experience being someone else.
Lenny Nero(Ralph Fiennes) is a former cop turned SQUID dealer, spending his days and nights in sleazy night clubs and scummy hotels. One day a horrific SQUID recording lands in his hands, making him discover a conspiracy.

This disturbing techno-thriller with film noir touches has over the years gained a growing cult following. Kathryn Bigelow considered Strange Days her most personal film, claiming that “It’s a synthesis of all the different tracks I’ve been exploring, either deliberately or unconsciously, ever since I started making art.”
Besides being an expertly crafted action/thriller, Strange Days explores themes such as abuse of power, racism, rape and voyerism.

This March we are celebrating female directors and their trailblazing work.

One of the great action directors of our time, Kathryn Bigelow got her start directing cult vampire movie Near Dark(1986). Action classic Point Break(1991) about surfing bank robbers launched her to Director stardom, enabling the big budget required to make dream project Strange Days(1995). Unfortunatly Strange Days become a box office flop when it came out, and Bigelow had a hard time getting projects after that. But in 2008 she made a stunning comeback with The Hurt Locker, and it become the first movie ever directed by a woman to win the Oscar for Best Picture.

Wednesday | March 13 | 20:00



Crime – Drama – Film Noir

Ida Lupino

US, 1953, 71′, English

A weekend get-away for two army vets takes a nightmare-ish wrong turn when they pick up a sinister hitch-hiker in this taught, tension-filled classic of the film noir era. One of the most economically made and shockingly impactful films of the period.

About the director: Ida Lupino is a well known name for fans of film noir. She was a major actress of the era, starring in classics such as HIGH SIERRA, ON DANGEROUS GROUND and THE BIGAMIST (also directed by Lupino). But when she got the chance to get behind the camera for this film, sparks flew. Independently produced by Lupino and her then husband, the script was based on a treatment by a blacklisted Hollywood writer.

Monday | March 18 | 19:30




Lone Scherfig

UK | US, 2009, 100′, English with Swedish subtitles

Despite her sheltered upbringing, Jenny (Carey Mulligan) is a teen with a bright future; she’s smart, pretty, and has aspirations of attending Oxford University. When David (Peter Sarsgaard), a charming but much older suitor, motors into her life in a shiny automobile, Jenny gets a taste of adult life that she won’t soon forget.

This March we are celebrating female directors and their trailblazing work.

Lone Scherfig is a Danish director and writer. Born in Copenhagen, Lone studied at The National Film School of Denmark and was involved with Dogme95 film collective. Her first feature film, “The Birthday Trip” (1990), was selected for Panorama in Berlin, the New Directors section at MOMA in New York and won the Grand Jury Prix in Rouen.

Tuesday | March 19 | 19:30



Biography – History – Drama

Sofia Coppola

US, 2006, 123′, English with English subtitles

The retelling of France’s iconic but ill-fated queen, Marie Antoinette. From her betrothal and marriage to Louis XVI at 14 to her reign as queen at 19 and to the end of her reign as queen, and ultimately the fall of Versailles.

“When Marie Antoinette, director Sofia Coppola’s much-anticipated follow-up to Lost In Translation, premiered at the Cannes Film Festival in 2006, it was booed — literally, and in reviews.
The overall criticism directed at the film seems to be focused on the idea that it lacks substance, a barb so often used to dismiss teenage girls. Which is ironic, given that this is precisely what the film is about.

That Marie Antoinette has become a cult classic for teenage girls is no surprise. The film arguably created millennial pink, launched a nationwide, still-going-strong macaron trend, and became the inspiration for countless Pinterest party mood boards. It’s a film about a stylish historical figure that doesn’t feel like one — a relatable fantasy of wealth and privilege. Marie Antoinette isn’t a biopic, concerned with dry historical facts, speeches or big events. It’s a highly personal film, which takes us into the very limited universe of a very young woman forced to play a very public role, gorgeously laying forth the trappings of luxury for the audience to revel in, until we, like the doomed French queen, realize that it’s nothing more than a gilded cage.

But most of all, it’s a movie about being a teenage girl.”
Anne Cohen, Refinery29

This March we are celebrating female directors and their trailblazing work.

Sofia Coppola transitioned from acting into filmmaking with her feature-length directorial debut in the coming-of-age drama The Virgin Suicides (1999). Her films often deal with themes of loneliness, wealth, privilege, isolation, youth, femininity, and adolescence in America. It was the first of her collaborations with actress Kirsten Dunst. Coppola received the Academy Award for Best Original Screenplay for the comedy-drama Lost in Translation (2003), and became the third woman to be nominated for the Academy Award for Best Director. She has since directed the historical drama Marie Antoinette (2006), the family drama Somewhere (2010), the satirical crime drama The Bling Ring (2013), the southern gothic thriller The Beguiled (2017), the comedy On the Rocks (2020), and the biographical drama Priscilla (2023)

Wednesday | March 20 | 19:30



Comedy – Drama

Beeban Kidron

US, 1995, 109′, English with English subtitles

In 1995, Wesley Snipes was a bankable action hero on par with Sylvester Stallone. Patrick Swayze was a heartthrob who’d melted audiences in Ghost and Dirty Dancing. AIDS was the leading cause of death for Americans ages 25 to 44. It was also the year both stars donned frocks and wigs for what became one of the decade’s most beloved camp classics, To Wong Foo, Thanks for Everything! Julie Newmar.
Though the sweet, wise-cracking comedy hardly deals in polemics, To Wong Foo marks a watershed moment in queer representation on screen, as a studio movie headlined by major stars — not just playing gay, but in heels — that topped the box office in its first two weeks. Written by playwright Douglas Carter Beane, the road-trip caper follows Swayze’s maternal Vida, Snipes’ sardonic Noxeema, and their tag-along turned protégé Chi-Chi (a role written specifically for John Leguizamo) from Manhattan to Hollywood to compete for Drag Queen of the Year. When their car breaks down in a middle-of-nowhere town, they spend a weekend gussying up its women and strong-arming its men into line, fostering connections across race, class, and gender lines like fairy godmothers of the Dust Bowl. The title comes from a signed photo of actress Julie Newmar that Vida plucks from the wall of a Chinese restaurant before they hit the road. Cameos from queer icons abound, from RuPaul, Lady Bunny, and Candis Cayne to a blink-and-you’ll-miss-her Naomi Campbell.
(Naveen Kumar, Them)

This March we are celebrating female directors and their trailblazing work.

Beeban Kidron is an English Film Director known for her much-lauded adaptation of Jeanette Winterson’s autobiographical novel Oranges Are Not the Only Fruit and for directing Bridget Jones: The Edge of Reason. In 2008 with Lindsey Mackie she founded the charity Filmclub, which has since grown to be one of the largest and most influential after-school clubs in the UK, attracting over 160,000 children and young people each week.

Wednesday | March 27 | 19:30



Comedy – Romance

Amy Heckerling

US, 1995, 97′, English

Jane Austen’s Emma as a 1990s Beverly Hills High School movie. Like totally a cult favorite, thanks to its iconic characters, witty dialogue and its explosion of everything 90s teen pop culture.

Rich and popular teenager Cher goes about her days shopping, gossiping on the cellular phone and working on staying at the top of the High School popularity scale. She’s also something of a matchmaker, making it her mission to help others find love. As for herself dating, AS IF! High School boys are not of interest.
But events unfold which makes Cher reevaluate her views on her own lovelife, and question the shallowness of her daily routines

This March we are celebrating female directors and their trailblazing work.

Amy Heckerling (born May 7, 1954) is an American writer, producer, and director. Heckerling started out her career after graduating from New York University. Her career started from independent films to directing major studio films.
Heckerling began her career after graduating from NYU and entering the American Film Institute, making small student films. She struggled to breakout into big films and was snubbed by Hollywood during her early career, up until the release of her breakout film Fast Times at Ridgemont High (1982). She has also directed the films Johnny Dangerously (1984), National Lampoon’s European Vacation (1985), Look Who’s Talking (1989), Clueless (1995), Loser (2000), I Could Never be Your Woman (2007) and Vamps (2012).

Thursday | March 28 | 19:30



Biography – Drama – History

Angela Robinson

US, 2017, 108′, English with English subtitles

In writer/director Angela Robinson’s brilliant biopic Professor Marston and The Wonder Women, the incredible and true story of a three-way romance that birthed one of the world’s most iconic superheroes is told with warmth, humor and a sex positive attitude. Simply put: Professor Marston and The Wonder Women is fierce, feminist and fantastic.
Writing under a pen name, Dr. William Moulton Marston (Luke Evans) aimed to introduce complex psychological concepts and empowering messages to women through comic books. He found inspiration for Wonder Woman in the two most important women in his life: his outspoken and brilliant wife Elizabeth (Rebecca Hall), and their big-hearted and noble lover Olive Byrne (Bella Heathcote).

By nestling a story of unconventional true love in the cozy and familiar package of a prestige biopic, Robinson welcomes audiences into the Marston family’s story with a graceful gravitas. She unfurls fleshed out and flawed characters with compassion and passion. She makes no excuses for their sex lives, because none are needed. She gives us a love story that’s smoking hot with sex appeal, and bursting with emotion. Best of all, she gives us a proudly queer romance that’s an absolute crowd pleaser, and easily one of the best films of the year.
(Kristy Puchko, CBR)

This March we are celebrating female directors and their trailblazing work.

Angela Robinson is an American director, screenwriter and producer. A black lesbian filmmaker, her films have primarily been queer centred, her first work being a black and white film ‘Chichula: Teenage Vampire’ about a queer vampire that was shown at LGBTQ+ film festivals in 1995. Her first feature length film, ‘D.E.B.S’, was based on her short of the same name that won numerous awards and solidified her voice in queer cinema. Robinson has also made a mark in TV, working on ‘The L Word’ and the webseries ‘Girltrash!’.

© 2024 Copyright Film i Malmö. | Site by Jake Rebh.