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GÖTEBORG 2025

Maria Eriksson-Hecht • Director of Kevlar Soul

“I feel we have renegotiated what a child actually is these days”

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- The Swedish director, who has countless shorts and TV series under her belt, tells us more about the brand of social realism that she was after in her feature debut

Maria Eriksson-Hecht • Director of Kevlar Soul
(© Karin Alfredsson)

Having spent almost half of her life making films, Swedish director Maria Eriksson-Hecht presented her first feature, Kevlar Soul [+see also:
film review
interview: Maria Eriksson-Hecht
film profile
]
, in the Nordic Competition of the 48th Göteborg Film Festival. Her social-realist tale of two young brothers may be classic storytelling, but it remains as topical as ever, she feels.

Cineuropa: Although you’ve just screened your first feature, you’re far from being a new filmmaker, right?
Maria Eriksson-Hecht:
Quite right. I started 18 years ago, at the age of 20. I graduated from the Stockholm University of the Arts in 2012 and started to develop a feature already back then. I got quite far but couldn’t get the financing. In the meantime, I did shorts and, later, TV series, which is a great way of avoiding just sitting around, waiting for your green light. You need to keep your energy flowing and develop your expression. During that time, I also met Pelle Rådström, who is now my creative partner and life partner, and the father of my child. Our first joint short, Schoolyard Blues, won several prizes and was also the embryo of Kevlar Soul.

So it was worth the wait, then?
Well, it certainly took some time, and perhaps you should develop more than one idea, but personally, I find that a bit difficult. I like to focus on one thing, even if it takes a little more time.

This story’s been told before, all over the world. Why do you feel it’s still worth telling?
It’s still topical, not least in Sweden these days. The main focus is children who take on huge responsibilities because there’s no adult around to do it, be it due to mental-health issues, drinking or something else. I feel we have renegotiated what a child actually is these days. A 14-year-old would, by definition, have constituted a child once upon a time. Those days are long gone.

Alex and Robin, your two brothers, recall What’s Eating Gilbert Grape a bit.
I love that film. In the Alex character, I looked for someone tough, sensible, quiet and attractive to girls – in short, a young, Swedish Johnny Depp.

How did you find your Alex and your Robin?
It was important to find not only the right types, but also someone from the right background. Young guys into theatre are usually upper-middle-class, and those we looked for weren’t interested at all. We visited schools and sports clubs, and also did regular street casting. We found Rio Svensson, Robin, at his school; he is aiming to be a pro footballer. Josef Kersh, Alex, came on board at the very last minute. We put up a little film on Instagram where Rio turned up, asking for a big brother for the film. When Josef saw it, he just felt, “Hey, that’s me!” They were fast learners, and soon knew how to move and where to stand in relation to the camera, acting really professionally.

Then there’s Ines, the young girl and also the catalyst in several ways, not least as the love interest who breaks up the brothers, as Robin likes her while she likes Alex. Can you talk about her role in the story?
Her role grew over time. She’s the one to show Alex that it’s both possible and okay to just be a teenager, a choice he had missed out on before.

They even take a trip to Hamburg, where your father, Peter Hecht, comes from. Interestingly, he’s a musician from what was quite a big rock band at the time, Lucifer’s Friend. Have you worked together creatively?
He helped me with the music on my early shorts. These days, he’s quite happy to be retired. Besides, we don’t really share the same taste in music. He’s not at all into Kent, for example, which I am, a lot.

And Kent is the much-loved pop group behind “Kevlar Soul”, the song that lent your film its title. What led to this choice?
Well, Kevlar is this incredibly strong material that’s used in bulletproof vests. We listened to the song a lot when we were starting to write the script, and it took on a life of its own within the creative process. I don’t know what they think themselves, but they let us use both the song and the title, and I’m told they’re quite restrictive with permissions. Funnily enough, they have also just got back together for some concerts this spring.

Will we have to wait very long for your next feature?
Pelle and I have a project in development, about something that takes place in 1968 and is based on true events. It should be really interesting, and artistic as well.

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