Swede Terror! The History of Swedish Horror Films

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Sweden and horror films. A combination which seems almost as foreign as porn from the Vatican or German comedy. Are there any Swedish horror films?
First we should perhaps define the “horror film” genre. The concept is very broad. To make things simple, let’s assume that horror films are either films about the supernatural (ghosts and monsters), or stories of homicide with extremely exaggerated violence (the Friday the 13th kind).
This means that most Swedish candidates fall short. There are certainly plenty of Swedish films which build up a horror atmosphere, many of which are well made to boot. For the most part though, these films are thrillers. Strong, psychological dramas, by people like Ingmar Bergman, may be scary but are hardly horror films. Bergman has, however, made one downright horror film: The Hour of the Wolf (Vargtimmen) from 1968.
One reason why there are not many horror films produced in Sweden is that it is a de-Christianised and sententious country. From the 1950s and a few decades onwards, the horror films flourished in the catholic countries of southern Europe and in conservative England, Hammer Films had great success with their sexy remakes of Dracula and Frankenstein. In Sweden, there were no such taboos to crush. The English and Irish authors Pete Tombs and Cathal Tohill wrote in their book “Immoral Tales” that Swedish exploitation- and sex films are uninteresting since nudity in Sweden is considered natural rather than exciting and sinful. Furthermore, Swedes are not especially superstitious. Of course there are amounts of myths, legends and domestic monsters, but the belief in those is no longer alive and the folklore is seldom, if ever, used by film makers.
The lack of tradition and interest has lead to horror films being a genre which has never been prioritised in Sweden. The directors – mostly young ones – who want to make horror films have usually been rejected by the Swedish Film Institute (SFI); in this country, we shouldn’t
involve ourselves in stupidities such as horror films. A quick look in Swedish Filmography (Svensk Filmografi) speaks its clear language.
However, there are in spite of this a few Swedish horror films. Yes, actually. They are not overwhelming in numbers but they do exist. First and furthermost, we have the film historically important films such as The Phantom Carriage (Körkarlen, Victor Sjöström 1921) and Häxan (Witchcraft through the Ages, Benjamin Christensen, 1922). These are perhaps not the type of films you watch when you want to shiver in the couch a stormy autumn evening, but these two films were still pioneering in, among other things, special effects.

Along with the silent films, one should perhaps also mention Mauritz Stillers Sir Arne’s Treasure (Herr Arnes pengar, 1919), like The Phantom Carriage based on a story by Nobel Prize awarded Swedish author Selma Lagerlöf.
Most Swedish horror films have been made the last 35 years. If I should bring forward a film made before the 1970s, I must stretch he definition above slightly and choose Arne Mattssons Mannequin in Red (Mannekäng i rött) from 1958. The detective stories about Captain Hillman (Karl-Arne Holmsten) and his wife Kajsa (Annalisa Ericson) were popular on radio, and the crime solving couple soon appeared in a handful of movies, all directed by Mattsson. Mannequin in Red is no regular horror movie but close to it. It is important of one particular reason: besides being one of the most visually stunning Swedish films ever made and also being said to have been appreciated by Alfred Hitchcock, rumour has it this is also the film which inspired the Italian horror maestro Mario Bava to make the classic Blood and Black Lace (1964). Giallo is the name of a, during the 1960- and 70s, popular form of Italian horror thrillers with many, bloody and studied murders. It was however Sweden’s own Arne Mattsson who was the pioneer!

Two of the other movies in the Hillman series, The Lady in Black (Damen i svart, 1958) and Lady in White (Vita frun, 1962), have strong horror elements, while Ryttare i blått (literally translates as Rider in blue, 1959) and The Yellow Car (Den gula bilen, 1963) are a bit to plucky to count. Mattsson’s Morianna (Morianerna, 1965) doesn’t belong to the Hillman series, but is another variation of the giallo themes – however, it takes an hour before the movie’s first and only murder. In 1958, Mattsson also manage to remake Phantom Carriage.
1959 saw the release of Rymdinvasion i Lappland (Space Invasion of Lapland), better known abroad as Terror in the Midnight Sun and Invasion of the Animal People. Directed by the American Virgil W. Vogel and produced by two Swedes, this is Sweden’s first – and only – space monster movie. It was re-edited for it’s American release and scenes featuring John Carradine were inserted, but the original Swedish version is the one to catch. Two of the actors are Americans, the rest of the cast are Swedes doing their best speaking English. When Åke Grönberg greets an old friend, it turns out he can’t pronounce the word “how”, so instead he says “Who are you”! The movie features a spaceship and a large, furry monster, but the monster has nothing to do with the aliens. The monster was by the way played by a tall journalist from Gothenburg.
The last couple of years, Swedish exploitation films from the 1960s and 70s anew has been given a lot of attention by a younger, curious generation. Many of the films have been reissued on VHS and DVD by Klubb Super 8 Video. In spite of Tombs and Tohill’s statement, a vast amount of Swedish sex films were produced. They are perhaps not as exciting and interesting as their southern European counterparts, at least not to an international audience, but it is not without reason that Sweden made a reputation as the capital of sin.
Though when gentlemen such as the Frenchman Jean Rollin and the Spaniard Jess Franco produced luscious combinations of horror- and sex-films, the Swedes kept to either nude ham acting in comedies, or erotic dramas, with a few exceptions: in 1971, the legendary sex film maker Torgny Wickman made Fear Has a 1,000 Eyes (Skräcken har 1000 ögon). This film is close to being pure trash, but I think it is a fascinating film which tries to be part of the concurrent trend of combing sex with horror. There are rumours that the movie was heavily censored, but a longer version has refused to appear anywhere. Fear has a 1,000 Eyes was an honest attempt to make erotic horror, though the result was bizarre and confusing.
Torgny Wickman died in 1997, but among the very last things he did, was sending a synopsis to American producer-director Brian Yuzna! Yuzna and Wickman, then 86 years old, met at Sweden’s Fantastisk Filmfestival in 1996.
Then we have the American Joe Sarno’s Swedish-German, English-spoken Den pornografiska jungfrun (which means The Pornographic Virgin!) from 1973, with the alternative titles Veil of Blood, Möte med Djävulen, Der Fluch der schwarzen Schwestern. It was released on video in the United States as Vampire Ecstasy. This too is a quite confusing film, in which popular sex star Marie Forså finds herself in a castle inhabited by female vampires who have nocturnal orgies to the sound of pounding bongo-drums – but as with Fear has a 1,000 Eyes, this is a fascinating film. In Sweden, Joe Sarno is most well known as the director of the beloved hardcore porn turkey Fäbodjäntan (1978, apparantly called Come Blow the Horn abroad).
During the 1970s, one could also see a “real” Swedish horror film; Calvin Floyd’s Swedish-Irish co-production Victor Frankenstein (1977, released as Terror of Frankenstein in the U.S.) with Jan “Emil i Lönneberga” Ohlsson and Per Oscarsson as the monster. In 1981, Floyd followed this with the vampire film The Sleep of Death (Ondskans värdshus), based on a story by Sheridan LeFanu. The Sleep of Death has often been hailed by critics. Floyd also made the documentary In Search of Dracula (Vem var Dracula?) in 1975, and his daughter is called Carmilla Floyd!
Then the 1980s came, and suddenly several downright Swedish horror films began to appear, most of them straight to video, but Joakim Ersgård’s ghost movie The Visitors (Besökarna) became a hit on the silver screen in 1988. However, the American horror film magazine Fangoria was not very merciful in their review of The Visitors and, among other things, complained about that the only thing the ghost does in the movie is to tear down wallpaper. Ersgård moved to Los Angeles, changed his name to Jack Ersgard, and made a couple of movies for Charles Band over at Full Moon; one of them was Mandroid.
Hans Hatwig’s Blödaren (which literally translates as The Bleeder) from 1983 is most known for being produced by the popular pop magazine Okej. It was a video production so terrible that it hurts to watch it. A girls’ rock band get lost while driving and are murdered by the title character – played by the drummer Åke Eriksson. It’s totally unwatchable and feels like a ten minute short stretched out to 90 minutes. People just walk around forever, and nothing happens – and most of the kills are off-screen.
Blödaren has several similarities to Mats Helge Olsson’s Blood Tracks (1985), a The Hills Have Eyes-copy in which the rock band Easy Action (featuring one of the members of Europe) is killed off, but Mats Helge’s film appears as a classic in comparison. One could say a lot of things about Mats Helge Olsson, famous as the director of The Ninja Mission, but he usually knows what he’s doing.
Olsson was at it again in 1987 with Spökligan (which is said to be called Ghost Hunters abroad, but this hasn’t been confirmed). This is a Swedish spoken children’s movie which kind of combines Enid Blyton with Scooby-Doo. However, Blyton never wrote lines like “I have to take a shit”. The straight to video release featured Sune Mangs and Bert-Åke Varg, two well-known and established actors.
During the 1980s, Arne Mattsson struck again with a slasher attempt about a masked killer. Mask of Murder from 1985 features Christopher Lee, and the late Swedish sleaze meister Heinz Hopf (from Boarne Vibenius cult classic Thriller – A Cruel Picture aka They Call Her One-Eye, 1974 – incidentally, Vibenius actually worked on Bergman’s The Wolf Hour!) in the same film, but that is just about all of interest in this mediocre story.
Another legendary 1980s film is Peter Borgs Scorched Heat (1987), with the later popular television game show host Harald “Gold-Harald” Treutiger in the role of the hero. Borg followed Scorched Heat with Sounds of Silence (1989), but it was never released in Sweden. In the early 90s, Borg started shooting something called The Swedish Meatball Massacre about mutant killer meatballs, but unfortunately, it was never completed – the special effects were a bit too advanced back then. This was before CGI, and now when they can create the FX, the filmmakers have lost interest in the project.
The 80s also gave us one of the best Swedish horror films ever; Jan Hemmel’s Hurvamorden (1986, the title means The murders in Hurva), which once again is a film which is not a direct horror film along with being a feature length episode of the TV-series Skånska mord (Murders in Skåne). However, as serial killer films such as The Silence of the Lambs are usually categorized as horror, I would say that Hurvamorden is a strong candidate. Not the least since it is indeed a very unpleasant and brutal film. Ernst-Hugo Järegård does a magnificent performance as the extra police Tore Hedin, who in 1951 murdered a large number of people. Based on actual events and with a dirty, pushy camera work. The scene where Hedin kills his parents with an axe is among the most evil to be filmed – ever. Leatherface of The Texas Chainsaw Massacre seems as a cosy chap compared to the repulsive, ice cold Tore Hedin.
More TV-movie terror could be found in Månguden (translates as The Moon God) from 1988. This is an utterly strange film which in the weirdest of ways combines traditional, stiff, old-fashioned TV drama with the slashers of the 80s. The film is about a masked killer – but it’s hard to believe the filmmakers were inspired by, or intended to compete with, Friday the 13:th and Halloween. Some people who came across it as young teenagers regard it as a cult film.
Agnes Cecilia, a book by beloved children’s book author Maria Gripe, was adapted for the big screen by Anders Grönros in 1991. In this moody film, a fifteen year old girl moves into a new apartment, which turns out to be haunted. The girl and a friend try to solve the mystery of Agnes Cecilia.

In the mid 1990s, Brian Yuzna, mentioned above, claimed that the upcoming shift of millennium would result in a lot of people going crazy and that there would probably be a rise in the number of horror films being made. In Sweden, not much happened in the horror film genre during most of the 1990s, but as the new millennium came closer, an array of Swedish horror films suddenly appeared. The first one out in this wave was probably Evil Ed (1997) by Anders Jacobsson. In the film crew, we find several members from the group behind Resurrection of Michael Myers Part 2 (1989), a short tribute to horror made by a gang of fans working in the industry.

Evil Ed started out as a short film project, but evolved into a full length feature film, dubbed in English, and was given a theatrical release. It is a film which left a lasting impression and is well known among horror film fans even abroad, because of the vast amounts of blood and effects.
Johannes Runeborg is probably best known for playing Evil Rune in the long series of sketches about Evil Rune & Sune. In 2000, he directed the horror flick Sleepwalker which in spite of its title is Swedish-spoken. It was a production for theatrical release attempting to make serious horror, in contrast to the splatter comedy Evil Ed. A couple of years ago, Runeborg changed his last name to Pinter.
The same year, 2000, Michael Hjorth’s The Unknown (Det okända) was released. In the wake of the low-low budget film The Blair Witch Project, a lot of imitations appeared. Thus, one of these was Swedish. The Unknown revolves around a group of field biologists who find a grilled chicken in the forest. Well, that’s what it looks like. One critic claimed is was a turkey…
Year 2004 presented not only one, but two Swedish slasher films in the spirit of Friday the 13th. First, Martin Munthe’s Camp Slaughter came, a film shot on video and shown on a few digital cinemas before being released on DVD. In spite of cold reviews, Camp Slaughter gave Munthe the opportunity to direct Stinger, the sequel to Tail Sting, for an American company.
After being nominated for an Academy Award for the drama The Evil (Ondskan, 2003), Mikael Håfström surprisingly enough went on to make the movie he had always wanted to do: Drowning Ghost (Strandvaskaren, 2004). Håfström’s horror film may be quite mild and restrained regarding blood, suspense and special effects – it’s actually pretty lame – but it’s still a big step in the right direction when it comes to Swedish horror films since it is a very competent and qualitative production, while still not pretending to be anything else than just a horror film. Drowning Ghost opened strongly in the Swedish box office. Director Håfström went to Hollywood, where he made Derailed and the international smash hit Stephen King adaptation 1408.

Midsummer (Midsommer/Midsommar, Carsten Myllerup 2003) is mainly a Danish production, about some Danish kids who go to Sweden to celebrate midsummer in a house in the woods. One of their friends commited suicide the year before, and the kids have a feeling that the dead girl has returned from the other side to tell them something. This is a rather good little film, and the Swedish neighbour is played by Per Oscarsson – the monster in Victor Frankenstein.

The Secret (Hemligheten, Paolo Vacirca 2005) is a very low-budget, shot on video production, about four kids vacationing on the island of Gotland. The main characters are supposed to be English, and the Swedish actors speak English – with varying results. This is an amateurish mess, with bad acting, a strange story, silliness, in short: it’s more or less unwatchable. Something that didn’t prevent it from getting a DVD release in the U.S.

2006 saw the release of Anders Banke’s award-winning Frostbite (Frostbiten, on DVD in the U.S. as Frostbitten), promoted as Sweden’s first real vampire movie, and a movie The Dark side has featured several aricles on the last few years. Since yours truly worked on the screenplay, I won’t comment on it, but internationally, Frostbite was a huge success – it was sold to 45 countries, and opened theatrically in quite a few of them.

2006 was also the year when a Swedish filmmaker continued in the footsteps of sex film pioneer Torgny Wickman 35 years earlier. Hardcore porn director Mike Beck made Possessed by Sex (Besatt av sex), in which a film team try to make a horror movie in an old castle haunted by a witch, but they are killed one by one by a masked killer. This is a very slick production and much of the gore had to be edited out before release, but it’s still a porno and parts of the story line are a tad too silly to attract horror fans.

John Ajvide Lindqvist is a stand up comedian and a novelist, who’s debut Let the right one in (Låt den rätte komma in, the American edition is called Let me in) managed to become both a bestseller and critically acclaimed. Tomas Alfredson’s adaptation premiered at the Gothenburg Film Festival in Januari 2008, to rave reviews. This is a dark story that takes place in a Stockholm suburb. The 12-year old, bullied Oscar meets a new friend – the vampire girl Eli. Let the right one in is a story about friendship and revenge, and it won two awards in Gothenburg. However, while making the movie, director Alfredson claimed he really doesn’t like the horror genre, and saw “something else” in the novel. This worried Swedish horror fans, but fortunately the movie turned out to be a huge success. Well, even more than that. The filmed toured the world and won awards at every festival that screened it, as well as rave reviews from the press – Canadian horror movie magazine Rue Morgue considered it the best horror movie of 2008. Now, Let the right one in is a tad overrated, but it sure showed the world that Swedish horror is a force to be counted with.

Lindqvist followed Let the right one in with the zombie tale Handling the Undead (Hanteringen av vandöda), and they are planning to adapt this one as well.
Even more Swedish vampires sucked blood in the year 2008. Not Like Others (the original title is Vampyrer, which of course means Vampires) by Peter Pontikis is the first Swedish feature from NonStop Entertainment. The film was made on a shoestring, and even though it’s rather short, its 75 minutes are very slow and draggy. Two young girls who apparently are vampires walk around Stockholm one snowy night, and nothing special happens. It’s one of the worst vampire films ever and it bombed at the box office.
So, what can we expect from Sweden in the years to come? Well, since young horror director wannabes often have access to HD cameras these days, probably a lot of low bodget direct-to-DVD movies. The makers of Frostbite are planning new big screen horrors and winterof 2008/2009, along with legendary Hammer Films (making their comeback), they co-produced the Irish horror film The Wake Wood, directed by David Keating for release in 2009. Anders Jacobsson, the director of Evil Ed, directed the English spoken Insain, which as of this writing is seeking distribution. And because of the success of Let the right one in, hopefully Swedish producers realise that it is possible to make good horror in Sweden.

– Pidde Andersson

Footnote: A couple of other Swedish films in and around the horror genre are Jan Molander’s Woman in a Fur Coat (Kvinna i Leopard, 1958), Lars-Eric Kjellgren’s Hidden in the Fog (I dimma dold, 1953), Rolf Husberg’s Moon Over Hellesta (Moln över Hellesta, 1956).
There has also been a bit of horror produced for television, such as the Chock (Shock, 1997) series, which had Ernst-Hugo Järegård as presenter (and episodes by such directors as Mikael Håfström and Daniel Bergman, son of Ingmar), and De drabbade (literally translates as The Befallen, 2003).


Herr Arnes pengar/Sir Arne’s Treasure
Directed by: Mauritz Stiller
Written by: Gustaf Molander, Mauritz Stiller
Cast: Erik Stocklassa, Bror Berger, Hjalmar Selander

Körkarlen/The Phantom Carriage
Directed by: Victor Sjöström
Written by: Victor Sjöström
Cast: Victor Sjöström, Hilda Borgström, Tore Svennberg

Häxan/Witchcraft Through the Ages
Directed by: Benjamin Christensen
Written by: Benjamin Christensen
Cast: Benjamin Christensen, Clara Pontoppidan. Elith Pio

Damen i svart/The Lady in Black
Directed by: Arne Mattsson
Written by: Folke Mellvig, Lars Widding
Cast: Karl-Arne Holmsten, Annalisa Ericson, Sven Lindberg

Mannekäng i rött/Mannequin in Red
Directed by: Arne Mattsson
Written by: Folke Mellvig, Lars Widding
Cast: Karl-Arne Holmsten, Annalisa Ericson, Anita Björk

Körkarlen/Phantom Carriage/The Soul Shall Bear Witness
Directed by: Arne Mattsson
Written by: Rune Lindström
Cast: Edvin Adolphson, Anita Björk, George Fant

Ryttare i blått/Rider in Blue
Directed by: Arne Mattsson
Written by: Folke Mellvig, Lars Widding
Cast: Karl-Arne Holmsten, Annalisa Ericson, Nils Hallberg

Rymdinvasion i Lappland/Invasion of the Animal People/Terror in the Midnight Sun/Space Invasion of Lapland
Directed by: Virgil W. Vogel
Written by: Arthur C. Pierce
Cast: Barbara Wilson, Robert Burton, Åke Grönberg

Vita frun/Lady in White
Directed by: Arne Mattsson
Written by: Folke Mellvig
Cast: Karl-Arne Holmsten, Jan Malmsjö, Sif Ruud

Den gula bilen/The Yellow Car
Directed by: Arne Mattsson
Written by: Folke Mellvig
Cast: Karl-Arne Holmsten, Ulla Strömstedt, Nils Hallberg

Directed by: Arne Mattsson
Written by: Arne Mattsson, Per Wahlöö
Cast: Anders Henrikson, Eva Dahlbeck, Heinz Hopf

Vargtimmen/Hour of the Wolf
Directed by: Ingmar Bergman
Written by: Ingmar Bergman
Cast: Max von Sydow, Liv Ullmann, Ingrid Thulin

Skräcken har 1000 ögon/Fear has a 1,000 Eyes
Directed by: Torgny Wickman
Written by: Inge Ivarson, Torgny Wickman
Cast: Hans Wahlgren, Anita Sanders, Solveig Andersson

Den pornografiska jungfrun/Möte med Djävulen/Veil of Blood/Der Fluch der schwarzen Schwestern/Vampire Ecstasy
Directed by: Joseph W. Sarno
Written by: Joseph W. Sarno
Cast: Marie Forså, Nadia Henkowa, Anke Syring

Vem var Dracula?/In Search of Dracula
Directed by: Calvin Floyd
Written by: Yvonne Floyd
Cast: Christopher Lee, Solveig Andersson

Victor Frankenstein/Terror of Frankenstein
Directed by: Calvin Floyd
Written by: Calvin Floyd, Yvonne Floyd
Cast: Per Oscarsson, Leon Vitali, Jan Ohlsson

Ondskans värdshus/The Sleep of Death
Directed by: Calvin Floyd
Written by: Calvin Floyd, Yvonne Floyd
Cast: Per Oscarsson, Patrick Magee, Curd Jürgens

Blödaren/The Bleeder
Directed by: Hans Hatwig
Written by: Hans Hatwig
Cast: Åke Eriksson, Sussi Ax, Danne Stråhed

Blood Tracks
Directed by: Mats Helge Olsson, Derek Ford
Written by: Mats Helge Olsson, Anna Wolf
Cast: Freddie van Gerber, Kee Marcello, Jeff Harding

Mask of Murder
Directed by: Arne Mattsson
Written by: Volodja Semitjov
Cast: Rod Taylor, Christopher Lee, Heinz Hopf

Hurvamorden/The Murders in Hurva
Directed by: Jan Hemmel
Written by: Max Lundgren
Cast: Ernst-Hugo Järegård, Nils Ahlroth, Stellan Sundahl

Spökligan/Ghost Hunters
Directed by: Mats Helge Olsson
Written by: Madeleine Bruzélius
Cast: Mats Huddén, Sune Mangs, Bert-Åke Varg

Scorched Heat
Directed by: Peter Borg
Written by: Peter Borg, Johan Dernelius, Anders Jönsson
Cast: Harald Treutiger, Babs Brinklund, Martin Brandqvist

Besökarna/The Visitors
Directed by: Joakim Ersgård
Written by: Joakim Ersgård, Patrik Ersgård
Cast: Kjell Bergqvist, Lena Endre, Johannes Brost

Månguden/The Moon God
Directed by: Jonas Cornell
Written by: Thomas Borgström
Cast: Per Myrberg, Stig Ossian Ericson, Heinz Hopf

Sounds of Silence
Directed by: Peter Borg
Written by: Peter Borg, Marc Fiorini
Cast: Troy Donahue, Hasse Andersson, Rico Rönnbäck

Resurrection of Michael Myers part 2
Directed by: Richard Holm, Henrik Wadling
Written by: Mikael Beckman, Anders Ek, Richard Holm, Kaj Steveman, Henrik Wadling
Cast: Anders Ek, Mikael Beckman, Orup

Agnes Cecilia
Directed by: Anders Grönros
Written by: Maria Gripe, Anders Grönros, Margareta Simonsson-Sarnecki
Cast: Gloria Tapia, Stina Ekblad, Vanna Rosenberg

Evil Ed
Directed by: Anders Jacobsson
Written by: Anders Jacobsson, Göran Lundström, Christer Ohlsson
Cast: Johan Rudebeck, Per Löfberg, Gert Fylking

Directed by: Johannes Runeborg
Written by: Johan Brännström
Cast: Ralph Carlsson, Tuva Novotny, Ewa Carlsson

Det okända/The Unknown
Directed by: Michael Hjorth
Written by: Michael Hjorth, Tomas Tivemark
Cast: Jacob Ericksson, Marcus Palm, Tomas Tivemark

Directed by: Carsten Myllerup
Written by: Rasmus Heisterberg
Cast: Laura Christensen, Tuva Novotny, Per Oscarsson

Camp Slaughter
Directed by: Martin Munthe
Written by: Alina Warne
Cast: Christian Magdu, Annika Marklund, Karin Bertling

Strandvaskaren/Drowning Ghost
Directed by: Mikael Håfström
Written by: Mikael Håfström, Vasa
Cast: Rebecka Hemse, Jesper Salén, Kjell Bergqvist

Hemligheten/The Secret
Directed by: Paolo Vacirca
Written by: Paolo Vacirca
Cast: Thomas Jankert, Charly Wassberg, Rickard Castefjord

Directed by: Anders Banke
Written by: Daniel Ojanlatva
Cast: Petra Nielsen, Carl-Åke Eriksson, Grete Havnesköld

Besatt av sex/Possessed by Sex
Directed by: Mike Beck
Written by: Wolfgang Jack
Cast: Nicole Berg, Jens XP, Samson Biceps

Låt den rätte komma in
Directed by: Tomas Alfredson
Written by: John Ajvide Lindqvist
Cast: Kåre Hedebrant, Lina Leandersson, Per Ragnar

Vampyrer/Not Like Others
Directed by: Peter Pontikis
Written by: Peter Pontikis
Cast: Jenny Lampa, Ruth Vega Fernandez, David Dencik

Directed by: Anders Jacobsson, Tomas Sandquist
Written by: Tomas Sandquist
Cast: Lars Bethke, Alida Moberg, Johanna Danielsson

Swede Terror! The History of Swedish Horror Films by Pidde Andersson is licensed under a Creative Commons Erkännande-Inga bearbetningar 2.5 Sverige License.


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