THE STORY – The power-hungry Danish King Christian II will stop at nothing to take over the Swedish crown from Sten Sture. Meanwhile, sisters Freja and Anne vow to take merciless revenge on the men who brutally murdered their family.
THE CAST – Claes Bang, Emily Beecham & Sophie Cookson
THE TEAM – Mikael Håfström (Director), Erlend Loe & Nora Landsrød (Writers)
THE RUNNING TIME – 151 minutes
Nordic historical films tend to focus primarily on Viking history. And, of course, they do. Viking politics and war make for some great entertainment, as seen in films, TV, and even video games. But other films in recent years like “Sisu” and “The Promised Land” show that there’s still so much Nordic ground to explore – and that they can be just as thrilling in action and compelling in drama as the history of ancient Norsemen. Enter Mikael Håfström’s “Stockholm Bloodbath,” titled after the trial of the same name that led to a series of executions in Stockholm in 1520. Basically, an archbishop named Gustav Trolle (Jakob Oftebro) was pissed that he was locked up in prison for betraying the Swedes. Now best friends with the Danish king, Christian II (played by Claes Bang), the titular bloodbath involved Trolle’s vendetta to execute all who were against him, including other archbishops. The film explores a piece of history perhaps unknown to most audiences, and when it comes to historical epics, the more drama, the better. And there’s nothing more dramatic than the feud between Sweden and Denmark.
In 1520, King Christian was pushing a military campaign against Sweden, but it proved to be an expensive failure. At this time, Sweden was attempting to break free of the Kalmar Union, a union that joined Denmark, Sweden, and Norway under one monarch. As the film’s introduction details, the Swedish head of state, Sten Sture (Adam Pålsson), was largely victorious in his quest for Swedish independence, but King Christian refused to give up his mission to win back the Swedish crown. Along with a group of mercenaries, the King set his sights on Stockholm, leaving behind a trail of destruction and death.
Curiously, the audience isn’t introduced to any of these players first. Instead, we meet a mute woman named Freja (Alba August). Skilled with a bow, she quickly takes out a Danish soldier sneaking up on her. Immediately, we know she isn’t one to be messed with. The approaching Danes leave smoke billowing high in the forest next to the town where Freja lives with her adoptive family, the Erikssons. And even though the Erikssons are warned of the army at their doorstep, their spirits are high because Anne (Sophie Cookson) and Johan (Wilf Scolding) are getting married. As one can predict, the happiness of the newlyweds and their families is broken by bloodshed and fire. Johan is kidnapped by the mercenaries, and Anne and Freja are the only survivors who can rescue him. The sisters make a list of their targets: Big Danish Guy, German Brothers, Guy with Scar, and Evil Man (aka Didrik Slagheck, the biggest player here, played devilishly by Mikkel Boe Følsgaard). While men throughout the film raise their swords in a quest for power, Anne and Freja do the same but in a quest for justice.
There are many times in “Stockholm Bloodbath” where it feels like leaning into absurdist, dark comedy territory. It has its serious moments but moments that feel very unserious at the same time. It attempts to follow the same beat as “The Favourite” or “The Great,” but unfortunately, this period piece doesn’t have Tony McNamara. More often than not, the humor here feels awkward and out of place, but writers Erlend Loe and Nora Landsrød must be commended for taking a meaty topic and creating something digestible that remains engaging. However, great gowns, beautiful gowns galore, and striking period sets are unfortunately outweighed by shoddy editing (too many split screens and crossfades) and dreary cinematography. Thankfully, this is all surrounded by captivating performances, especially from August, who speaks forcefully through gestures and expression, and zealous, flirtatious Bang, whose line delivery of “Swedish peasants!” should get him an Oscar.
On the surface, “Stockholm Bloodbath” may seem like just another film about the ambitions of men and the temptations of vengeance, but what makes it really worthwhile is how it upends expectations. For a story about war driven by men, it’s actually the film’s female characters that drive the story. There may not be a central perspective, but each event involves Anne, Freya, and Anne’s cousin, Christina, who led the resistance against King Christian after her husband Sten’s death in some way. Each of these women, both real and fictional, are and represents the forgotten changemakers that leave a much more lasting legacy than the selfishness of Kings. It’s a shame that “Stockholm Bloodbath” is one of those films that will most likely get buried alongside more buzzed-about titles. It’s not perfect, but it’s an example of how many true stories have yet to be captured.
