Swedish

Renate Reinsve is the new face of Scandinavia: depression with a smile. Standing 5 feet 10 with open, friendly features, the Norwegian talent has a grin that makes her appear at once like an endearing everywoman and a large, unpredictable child. Reinsve zoomed to international acclaim with her Cannes-winning performance in Joachim Trier’s 2021 “The Worst Person in the World,” a dramedy tailor-made to her lanky, likable style of self-loathing. Now, Trier has written his muse another showcase, “Sentimental Value,” where Reinsve plays an emotionally avoidant theater actor who bounces along in pretty much the same bittersweet key.

“Sentimental Value” gets misty about a few things — families, filmmaking, real estate — all while circling a handsome Oslo house where the Borg clan has lived for four generations. It’s a dream home with red trim on the window frames and pink roses in the yard. Yet, sisters Nora (Reinsve) and Agnes (Inga Ibsdotter Lilleaas) aren’t fighting to keep it, perhaps due to memories of their parents’ hostile divorce or maybe because they don’t want to deal with their estranged father, Gustav (Stellan Skarsgård, wonderful), who grew up there himself and still owns the place, even though he’s moved to Sweden.

Trier opens the film with a symbolically laden camera pan across Oslo that ends on a cemetery. He wants to make sure we understand that while Norway looks idyllic to outsiders jealous that all four Scandinavian countries rank among the globe’s happiest, it can still be as gloomy as during the era of Henrik Ibsen.

More impressively, Trier shifts to a fabulous, time-bending historical montage of the house itself over the century-plus it’s belonged to the Borgs. There’s a crack in it that seems to represent the fissures in the family, the flaws in their facade. Over these images, Reinsve’s Nora recites a 6th-grade school essay she wrote about her deep identification with her childhood home. Having grown up to become terrified of intimacy, today she’s more like a detached garage.

Nora and Agnes were young when their father, a modestly well-regarded art-house filmmaker, decamped to a different country. At a retrospective of his work, Gustav refers to his crew as his “family,” which would irritate his kids if they’d bothered to attend. Agnes, a former child actor, might note that she, too, deserves some credit. Played in her youth by the compelling Ida Atlanta Kyllingmark Giertsen, Agnes was fantastic in the final shot of Gustav’s masterpiece and Trier takes a teasingly long time to suggest why she retired from the business decades ago, while her older sister keeps hammering at it.

Gustav hasn’t made a picture in 15 years. He’s in that liminal state of renown that I’m guessing Trier has encountered many times: a faded director who’s burned through his money and clout, but still keeps a tuxedo just in case he makes it back to Cannes. Like Reinsve’s Nora, Gustav acts younger than his age and is at his most charming in small doses, particularly with strangers. Trier and his longtime co-writer Eskil Vogt have made him a tad delusional, someone who wouldn’t instantly recognize his graying reflection in a mirror. Sitting down at a cafe with Nora, Gustav jokes that the waitress thinks that they’re a couple on a date. (She almost certainly doesn’t.)

But the tension between Gustav and Nora is real, if blurry. He’s invited her to coffee not as father and daughter, but as a has-been angling to cast Nora as the lead of his next film, which he claims he’s written for her. His script climaxes with a nod to the day his own mother, Karin (Vilde Søyland), died by suicide in their house back when he was just a towheaded boy of 7. Furthering the sickly mojo, Gustav wants to stage his version of the hanging in the very room where it happened.

His awkward pitch is a terrific scene. Gustav and Nora are stiff with each other, both anxious to prove they don’t need the other’s help. But Trier suggests, somewhat mystically, that Gustav has an insight into his daughter’s gloom that making the movie will help them understand. Both would rather express themselves through art than confess how they feel.

When Gustav offers his daughter career advice, it comes off like an insult. She’s miffed when her dad claims his small indie would be her big break. Doesn’t he know she’d be doing him the favor? She’s the lead of Oslo’s National Theatre with enough of a social media following to get the film financed. (With 10 production companies listed in the credits of this very film, Trier himself could probably calculate Nora’s worth to the krone.)

But Gustav also has a lucky encounter with a dewy Hollywood starlet named Rachel (Elle Fanning) who sees him as an old-world bulldog who can give her resume some class. Frustrated by her coterie of assistants glued to their cellphones, Rachel gazes at him with the glowy admiration he can’t get from his own girls. Their dynamic proves to be just as complex as if they were blood-related. If Rachel makes his film, she’ll become a combo platter of his mother, his daughter, his protégée and his cash cow. Nora merely merits the financing for a low-budget Euro drama; Rachel can make it a major Netflix production (something “Sentimental Value” most adamantly is not).

It takes money to make a movie. Trier’s itchiness to get into that unsentimental fact isn’t fully scratched. He seems very aware that the audience for his kind of niche hit wants to sniffle at delicate emotions. When Gustav’s longtime producer Michael (Jesper Christensen) advises him to keep making films “his way” — as in antiquated — or when Gustav takes a swipe at Nora’s career as “old plays for old people,” the frustration in those lines, those doubts whether to stay the course or chase modernity, makes you curious if Trier himself is feeling a bit hemmed in.

There’s a crack running through “Sentimental Value” too. A third of it wants to be a feisty industry satire, but the rest believes there’s prestige value in tugging on the heartstrings. The title seems to be as much about that as anything.

I’ve got no evidence for Trier’s restlessness other than an observation that “Sentimental Value” is most vibrant when the dialogue is snide and the visuals are snappy. There’s a stunning image of Gustav, Nora and Agnes’ faces melting together that doesn’t match a single other frame of the movie, but I’m awful glad cinematographer Kasper Tuxen Andersen got it in there.

The film never quite settles on a theme, shifting from the relationship between Nora and Agnes, Nora and Gustav, and Gustav and Rachel like a gambler spreading their bets, hoping one of those moments will earn a tear. Nora herself gets lost in the shuffle. Is she jealous of her father’s attention to Rachel? Does she care about her married lover who pops up to expose her issues? Does she even like acting?

Reinsve’s skyrocketing career is Trier’s most successful wager and he gives her enough crying scenes to earn an Oscar nomination. Skarsgård is certainly getting one too. But Fanning delivers the best performance in the film. She’s not only hiding depression under a smile, she’s layering Rachel’s megawatt charisma under her eagerness to please, allowing her insecurity at being Gustav’s second pick to poke through in rehearsals where she’s almost — but not quite — up to the task.

Rachel could have been some Hollywood cliché, but Fanning keeps us rooting for this golden girl who hopes she’ll be taken seriously by playing a Nordic depressive. Eventually, she slaps on a silly Norwegian accent in desperation and wills herself to cry in character. And when she does, Fanning has calibrated her sobs to have a hint of hamminess. It’s a marvelous detail that makes this whole type of movie look a little forced.

The light coming through the sleeper train window wakes me. It’s nearly time. Climbing down the ladder past the other snoozing occupants, I head into the corridor. A few hours ago there were only trees, an endless unfurling ribbon of spruce and birch. Now there is snow, vast banks of it. And sometimes, when the train roars through a big drift, great spumes of white blast out on either side, blocking any view.

In the restaurant car, I watch the map on my phone as a blue dot approaches a straight dashed line. A frozen lake and distant pale mountains appear. Then at 6.09am we cross the Arctic Circle. Forty-eight hours previously, I had been in London St Pancras station, queueing for the Eurostar. Now, five trains later, never having left terra firma, I am in the Arctic. Most of my fellow travellers are Swedes with hefty bags of skis and well-stocked sledges that look expedition-ready. With their weathered faces and lean muscle, they look intimidatingly capable.

The Swedish Armed Forces have finally gotten their hands on their first operational Saab Gripen E multirole fighter. The first of 60 of the new jets marks a significant step in the modernization of the Swedish Air Force, which is reconfiguring its posture to better face off the resurgent threat from Russia.

The first Gripen E for the Swedish Air Force touched down at the airbase of Såtenäs, in south-central Sweden, yesterday. This is the home of F 7, or the Skaraborg Wing, which will be the service’s first operational Gripen E unit. A handover ceremony at Såtenäs included representatives from the Swedish Ministry of Defense, the Swedish Armed Forces, the Swedish Defense Materiel Administration (FMV), and Saab.

“This is a big day that marks the beginning of a new chapter in Swedish aviation history,” said Skaraborg’s Wing Commander Mattias Ottis. “F 7 Skaraborg Wing is the center of Swedish fighter aircraft development; we are paving the way for the future. We are ready, we are excited, and now we are going for it.”

“This marks an important milestone in the development of the Swedish defense. It is the result of long-term cooperation and close collaboration between the Swedish Armed Forces, FMV, and Swedish industry. Gripen E strengthens our national defense capability to meet future threats together with our allies,” added Michael Claesson, commander-in-chief of the Swedish Armed Forces.

Notably, the Gripen E is already in operational service, in Brazil.

The Latin American nation was the first export customer for the jet and has also inaugurated a domestic production line, which will build 15 of the 36 aircraft currently contracted to the Brazilian Air Force. Unlike Sweden, Brazil is also receiving the two-seat variant of the jet, the Gripen F. The first Gripen for Brazil was shipped from Sweden to South America by sea, arriving there in September 2020.

Returning to Sweden, the Gripen E is seen very much as a cornerstone of the country’s changing defense policy, which has seen a renewed emphasis on its fighter fleet as the country grapples with a further deterioration in regional security policy including increasing Russian belligerence.

As well as joining NATO, in response to Russia’s full-scale invasion of Ukraine, this new posture has seen Sweden decide to retain its older Gripen C/D fleet for longer, alongside the new-generation Gripen Es.

This marks a notable change for the Swedish Air Force.

After all, when switching from the Cold War-era Saab Viggen to the Gripen, the Swedish Air Force decided to use only one type of fighter aircraft for all tasks. Operating the Gripen E in parallel with the Gripen C/D, beyond a normal transition, reverses this.

Despite its similar outward appearance, the Gripen E is regarded as a completely new aircraft type — as you can read about here.

Ultimately, the Gripen E will take over the tasks currently performed by the Gripen C/D, but the two will serve together for “a relatively long period of time,” according to the Swedish Air Force.

In basic mission terms, the Gripen E offers a longer range and can carry a heavier load than its predecessor. The aircraft is slightly larger than the C-model at just under 50 feet and includes a beefed-up fuselage that accommodates approximately 30 percent more fuel. The aircraft also features larger air intakes, the more powerful General Electric F414 engine, and a total of 10 hardpoints. 

On those 10 hardpoints, the heavy loads can include up to four of the big Saab RBS 15 anti-ship missiles, up to nine air-to-air missiles, or 16 Small Diameter Bombs, albeit at the expense of external fuel.

“It’s a completely new system — built to meet future requirements for survivability, range, sensors, and interoperability. It’s the result of Swedish engineering and innovation with a clear focus on operational effectiveness,” explained Mattias Ottis, commander of the Skaraborg Wing.

Under the skin, the Gripen E is also substantially different.

New features include its sensors, among them an active electronically scanned array (AESA) radar, and an infrared search and track (IRST) system. The communications system is also new, as is the aircraft’s advanced electronic warfare self-protection system.

All this reflects the fact that the Gripen E is intended to operate in a different threat environment compared to the Gripen C/D, a fact made clear by the Swedish Air Force:

“The Swedish Armed Forces have needed to find a way to operate in what is known as a ‘contested environment,’ i.e., an area where they do not have control,” the Air Force explains. “In the past, it was possible to take off and land in a controlled environment. Today, as soon as the aircraft takes off, we find ourselves in an uncertain environment, hence the need to develop a new and more capable fighter aircraft system.”

In another reflection of the increasingly contested environment that the Swedish Air Force is expected to be able to fight in, the Gripen E is being tested loaded with an artificial intelligence (AI) agent that can conduct autonomous beyond-visual-range air-to-air combat. You can read more about this initiative here. Suffice it to say, it’s very much focused on enabling a much smaller air arm (the Swedish Air Force) to deal with a potential large-scale Russian aerial attack. In such a scenario, AI could play a critical role in helping a force of Gripens armed with Meteor air-to-air missiles, for example, to prioritize multiple incoming threats and find the best solutions to combat them.

At the same time, the Gripen E retains some commonality with the Gripen C/D, especially in terms of its flying qualities.

The Swedish Air Force describes the new aircraft as “just as easy to fly and maneuver” as the Gripen C/D, and that pilots trained on the earlier aircraft “will feel right at home in the E.” This is especially important considering that, as mentioned previously, Sweden will not be buying two-seat versions of the new jet, which would ease the training process.

While the first Gripen E may have just been delivered, Sweden is already starting to plan for what might come next.

In a statement regarding the introduction of the new fighter, Swedish Minister of Defense Pål Jonson said: “Parallel to the introduction of Gripen E, studies are underway to prepare for the next generation of fighter aircraft.”

As TWZ has discussed, the FMV recently awarded Saab with a contract, worth around $276 million, for continued conceptual studies for future fighter systems.

At this early stage, it’s very much unclear what the Swedish Air Force’s future combat air ‘ecosystem’ will look like and how it will balance crewed and uncrewed assets — or if it will be an all-drone combat fleet.

But with the Gripen E only just entering service, it would seem to make sense that it’s paired in the future with stealthy drones. We have discussed in the past how ‘loyal wingman’ type drones are potentially even more relevant to so-called ‘generation 4.5’ fighters than fifth-generation ones.

Saab and the Swedish government, meanwhile, will hope that the induction of the Gripen E with the Swedish Air Force serves as a springboard for more export orders. After Brazil joined the program as a co-partner, it took a long time for more orders to come in, with the Gripen E/F losing out on more than one occasion to the F-35. More recently, however, the Gripen E has been ordered by Thailand — which already operates the Gripen C/D — and has been selected as Colombia’s next fighter jet.

The Gripen has also repeatedly been linked with a possible transfer to Ukraine, a topic that was reportedly discussed between President Volodymyr Zelensky and Swedish Prime Minister Ulf Kristersson earlier this month. Sweden’s long-term plan is to have 120 Gripens serving by 2030, with half being E variants. That would leave roughly 37 Gripen C/D models potentially available to Ukraine, but the number is likely somewhat lower due to airframe fatigue and other factors. 

The long-term future of Sweden as a developer and producer of crewed combat aircraft is by no means certain. But in the meantime, the start of Gripen F deliveries to the Swedish Air Force ensures that the service remains at the cutting edge as it starts to look forward to the next generation of combat aircraft.

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