Experiencing Interruptions?

Confessions of a Swedish Man

When my grandfather had small children in the 1950’s, dinner was served at the moment when he arrived home from work. Sex with my grandmother was a legal right of his within their marriage. Him changing a diaper or caring for the children when they
were sick would never happen. Today, 70% of Swedish men go on paternity leave when they have small children. The law of sexual consent, which defines a sexual act as rape unless all participating
parties have explicitly consented to it, was legislated in Sweden in 2018. Swedish men and women are expected to be equal. On the surface, things are changing. But how do we achieve the same change within ourselves? And do we risk losing crucial parts of
ourselves in the process? I am a Swedish man in my mid 40’s, a part-time single father of two. I consider myself a feminist. I travel to an anti-feminist mens camp in Jutland to research why the
men there are so angry at feminists. But what I had thought was a simple question turns out to be much more difficult
than I had ever imagined. I am being pulled further and further down into the rabbit hole of the“manosphere” and my world is turned upside down. The explicit conflict I had planned to depict is overpowered by an internal conflict within myself. How much of my own identity, the ways in which I have been a partner
and the kind of dad that I am, are imprinted with normative expectations of what a man should be?
What happens to me when the male identity is under scrutiny? Why is it so difficult for me to hug other men? Why is it so much easier for me to be angry than to cry or show vulnerability? What can I do to stop my scars from becoming the wounds of my children? Ultimately, my doubts turn out to be my only way forward. Being male is an important part of my identity, but am I allowed the space to be fully human as a man?

  • Hampus Factory Linder
    Director
    The Feminist, Hip Hop for Gaza, The Art of Being Human
  • Hampus Linder
    Writer
    The Feminist, Hip Hop for Gaza, The Art of Being Human
  • Helene Granqvist
    Producer
    The Feminist, Granny´s Dancing on the Table, Nasty Old People
  • Hampus Linder
    Key Cast
    "Hampus "
  • Project Type:
    Documentary
  • Runtime:
    2 minutes
  • Completion Date:
    January 15, 2025
  • Production Budget:
    300,000 EUR
  • Country of Origin:
    Sweden
  • Country of Filming:
    Denmark, Sweden
  • Shooting Format:
    Digital
  • Aspect Ratio:
    16:9
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
Director Biography - Hampus Factory Linder

Since beginning his career in 2002, Hampus Linder has made 9
documentaries. Confessions of a Swedish Man is his second feature length film. His previous one The Feminist premiered at DOC NYC in 2018 and was distributed theatrically in the Nordic countries and in the USA.

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Director Statement

During the 5-year long work on my latest film The Feminist, about Swedish feminist icon Gudrun Schyman, I had my first thoughts about examining the male role appeared. I sympathized with many parts of the feminist framing of the common challenges facing men. The development of the male role seems to move much slower compared to the female role, where women in Sweden have conquered arenas that were completely closed a generation ago. Some men perceive this as a threat, others welcome it, but most find difficulty in adapting to new roles as
men in a more equal Sweden. For instance women who are financially superior to their male partners are at greater risk of domestic violence, according to research. I can easily name a number of parts of the male role that are problematic, diminishing and destructive, both for a man and his surroundings. But when asked to define what a healthy male role should contain, it becomes embarrassing, I am afraid to say the wrong things and I get insecure. It’s often through irony, exaggerations and stereotypes that I approach what masculinity is. There is
always someone else who is “worse” than myself. The emotionally crippled man, the criminal who personifies violence or the absent father. It's safest that way, I don't have to problematize myself. It's as if we as men know that we play a role, we hide, both from ourselves and those around us. We want to showcase a strong, confident, potent and competent man. Even when we don't feel like that. Why do we do it and for whom?