Maria Loohufvud, an art director, has a background in dance and music. Her feminist engagement led to projects across many platforms, such the equality game Komma Lika. She has co-founded the independent production company Pink Dolphin with Love Martinsen.
“Calendar Girls” is screening at the 2022 Sundance Film Festival, which is running online from January 20-30. More information can be found on the fest’s website. “Calendar Girls” is co-directed by Love Martinsen.
W&H: Describe the film for us in your own words.
ML: A coming-of-golden age film about Florida’s most dedicated dance team for women over 60. “Calendar Girls” is a life-affirming dance documentary that is shaking up the outdated image of what it means to be an “old lady.”
W&H: What drew you to this story?
ML: When we saw the Calendar Girls dance for the very first time we just couldn’t stop watching. They made us face our own prejudices about how women in their 60s “should” behave. We also contacted Katherine, leader of the Calendar Girls for an interview the same night. She was willing to do anything.
W&H: What do you want people to think about after they watch the film?
ML: I want people feel inspired. To get out of their comfort zone and join a local girl gang. Before it’s too late.
W&H: What was the biggest challenge in making the film?
ML: Neither me or co-director Love had made a film before, so everything has been new to us –we did to handle the camera, write a synopsis, funding, editing, music clearance, everything. But, at the same time, I believe it’s been a good thing that we have been so naïve and optimistic about everything. We were inspired by the girls to follow our intuition and have that punk attitude.
W&H: How did you get your film funded? Let us know how you got the film produced.
ML: We are grateful for the support Sweden offers filmmakers. The film was funded by the Swedish Film Institute and Film Stockholm, Swedish Television and Swedish Arts Grants Committee. Filmbasen, Nordisk Film and TV and Pink Dolphin, our own production company, are also involved in funding it.
W&H: What inspired you to become a filmmaker?
ML: I’ve been working as an art director for many years and my partner as a composer for film and TV. I guess we both were in the time of our careers when we were up for something new, and we also wanted to do something together — to share a creative vision, not just family life and the daily chores. We had the idea of making a film together and were able to find the Calendar Girls.
W&H: What’s the worst advice you’ve received?
ML: Every time people try to lower my expectations: ”It’s too hard to make a feature, start with a short.” ”Don’t be disappointed if nobody is going to care about your film.” Etc. I don’t like that attitude. People do it mostly with love. Why shouldn’t I have high expectations?
W&H: What advice do you have for other women directors?
ML: If possible, own the rights to your film and produce it yourself. Take control.
W&H: Name your favorite woman-directed film and why.
ML: ”Toni Erdmann” by Maren Ade. Love everything about it — the humor, the acting, the script. It’s over two-and-a-half hours but once finished I want to see it all over again.
W&H: How are you adjusting to life during the COVID-19 pandemic? Is creativity something you do?
ML: It has forced me to think in new ways. Walking on Google Maps, instead of searching for a good spot in real life. Instead of travelling, hire a Florida photographer. It works. But less fun.
W&H: The film industry has a long history of underrepresenting people of color onscreen and behind the scenes and reinforcing — and creating — negative stereotypes. What are your suggestions for making it more inclusive?
ML: Every person in the industry must be willing to face their prejudices and our privileges.
Source: Women And Hollywood