Viaplay The material distribution has sold “A Life Worth” to Spain (EITB) and Greece (Vodafone) “A Life Worth” Chain mania Premier in your international panorama.
The six-episode play directed by Ahmed Abdullahi is inspired by the challenges faced by the first Swedish United Nations Battalion sent to Bosnia in 1993.
Produced by Yellobard in co-producing with a flee Arte France“A Life Worth” has also licensed Arte for France, Germany, Switzerland, Belgium, Luxembourg and Austria; Wayaplay has other world rights.
Mona Masari said, “Swedish soldiers did not need to go there: they worked voluntarily. Some needed a job, others expected a adventure. Many of them did not even know what the war was. He met more than what he asked for,” said Mona Masri, who wrote the show with Oliver Dixon.
“The United Nations is a peace force. I read somewhere that many weapons were not working, because they should not have been used. Then they realized that people were being killed.”
The United Nations soldier Magnus Erntstrom inspired by the same-post-verse book-who served as the advisor to the show-it was needed to “feel true” who had experienced fighters, she accepts. And express your feeling of helplessness.
“Quo Vadis, Aida?” (Jasmila žbanić’s drama Srebrenica massacre) showed it very well: people were not allowed to do anything.
While Sweden has a large migrant community from Balkan, it is important to remind people about the Bosnian war, Masri argued.
“When Russia attacked Ukraine, some said: ‘This is the first war in Europe since WWII.” But what about the balcon?
Cast Johan Ribborg, as a controversial colonel, recalled the events painted on the show.
“I had some friends who really went there. But people did not talk about our participation and politicians, it was dangerous to accept that they had sent Swedes for war. These children, who came as United Nations soldiers … I don’t know if they expect to end in such serious situations. I really don’t think so.”
According to his co-star Eric Enge, young fighters wanted to “make a difference”.
“This is why they were there. How to get it, well, it’s another question. They were not trained soldiers; they did not know how to handle the danger. In the series, they see each other, thinking: ‘What do we do now’?”
Edwin Riding, Maxwell Cunningham, Tony Prince, Sandra Stazyljkoviok and Johannes Bah Kuhanke scored the artists.
While “A Life Worth” can be seen as “stimulating” at home, Ribborg said, Swedish attitude towards war and military conflicts has changed. On March 7, 2024, it became a member of NATO.
“After this, Sweden was very egoistic and keeping in mind his own business. We did not think we were going to join another war. Now, all the money goes into the army. It will be interesting to see how it is considered today.”
ENJ agreed: “When this happened, Sweden was still very proud to be neutral. It was a complex war. But there was a reason to send the United Nations soldiers (Bosnia) because Sweden wanted to show that we could be a part of this community that could be a part of this community that is Europe. It was the first step.”
For ENGE, honoring real -life events “was more important than trying to entertain the audience.” Nevertheless, as Masari mentions, stories about armed conflicts are not just about murder.
He said, “It is also about the desire to buy bread or get married. Life moves forward. It’s surprising how quickly we customize,” he said, eventually allows for some mild views between the characters.
“The best way is to handle trauma and the best way to handle all these cruel things that you’re looking is through.
“When you are under pressure and a lot of concern, you look for generality. It was my experience in Thailand, during a tsunami. After it was over, we were sitting on a hotel deck. We all started laughing.
He said: “There are no judges of what these characters are right and wrong. The only thing they know is a crime against innocent people – who anyone does it. They are trying to find some decency in chaos.”
