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  1. Bo Widerberg
    Swedish film director, screenwriter and film editor

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  1. en.wikipedia.org › wiki › Bo_WiderbergBo Widerberg - Wikipedia

    Bo Gunnar Widerberg ( Swedish: [ˈbuː ˈvîːdɛrbærj]; 8 June 1930 – 1 May 1997) was a Swedish film director, writer, editor and actor. Biography. Early life. Widerberg was born in Malmö, Malmöhus County, Sweden . Career. Bo Widerberg began his career as a writer. In 1952 came his first novel, Hösttermin.

  2. www.imdb.com › name › nm0927090Bo Widerberg - IMDb

    Bo Widerberg (1930-1997) was a Swedish director, writer and editor, known for his social realist films such as Adalen 31 and Joe Hill. He was married twice and had three children, and died of stomach cancer in 1997.

    • January 1, 1
    • Malmö, Skåne län, Sweden
    • January 1, 1
    • Ängelholm, Skåne län, Sweden
  3. New cover by Eric Skillman. Driven by a desire to forge a socially conscious Swedish cinema—one that broke with the inward-looking psychodrama of Ingmar Bergman to give dynamic expression to the everyday experiences of working-class Swedes—writer Bo Widerberg turned to filmmaking in the early 1960s, realizing his ambition in politically ...

  4. Interview with Bo Widerberg. Roger Ebert December 17, 1967. Tweet. STOCKHOLM - Even when he is not behind a camera, Bo Widerberg is a director, concerned with the arrangements of things. He takes a dinner knife and draws boundaries on the table cloth, and then he divides the wine glasses and bread plates into groups related somehow to the lines ...

  5. May 1, 1997 · Bo Widerberg was a Swedish film director, writer, editor and actor who made films such as Elvira Madigan and Ådalen 31. He won several awards and nominations for his social and political cinema, and criticized Ingmar Bergman's style.

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  7. May 2, 1997 · Bo Widerberg, the lyrical, socially conscious Swedish director of the popular ''Elvira Madigan'' and three films nominated for Academy Awards, died on Thursday at a hospital in Angelholm in...

  8. Bo Widerberg represents a model of cinema that contravenes that of his illustrious forebear and that delineated for the first time in Sweden’s national cinema the concerns of everyday people, a director who arguably thus influenced Moodyson, Andersson, et. al, more significantly than any of his fellow countrymen.

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