03/07/2024 - Tiina Lymi signs an ample, epic, romantic and feminist drama, which follows a couple settling in on an isolated island in the middle of the 19th century

“It’s madness to know where one wants to live and who one wants to be? – As if you, or any other woman, could make this kind of decision. – I can decide what I want to do.” Escaping the yoke of social conformism still remains a matter of individual will where the spirit’s strength and flexibility are often put to the test, but this was even more the case for women in the middle of the 19th century, when male domination was exercised with the anointing of religion, in an economic environment where mere survival was then the priority. Such is the framing of the very touching film Stormskerry Maja, the fifth feature by Tiina Lymi, a box-office hit in its country at the beginning of the year, which went through Göteborg and IFFR and which was just presented in the Ici et ailleurs section at the 52nd Festival La Rochelle Cinéma.

“I’ve found a place for us: Stormskerry. There’s fish, we can create our own world there, and it’s beautiful, completely open and free: an infinite sea, wind, sun. All of that would be ours.” When Janne (Linus Troedsson) makes this life proposal to the sensitive and enthusiastic Maja (Amanda Jansson) who he’s been courting for about a year, the young woman, who doesn’t hide her fear of the unknown, doesn’t know yet that she will embark on a journey completely out of the ordinary, a life where she will have to affirm the hidden strength of her character and experience the deepest feelings of love and pain because “we all have to face life and death.”

Educated in a Christianity that is strict (“looking at yourself in the mirror is a sin”) but relatively benevolent (as long as limits are not crossed), Maja nevertheless also believes in Nature (the mistress of the sea, the spirits of the forest and of stone, etc.) and Janne adapts to these superstitions (“if it’s important for you, it’s important for me”), all the better as love blossoms between the two young people in the isolation of Stormskerry Island, in the Åland archipelago. Nudism, the birth of four children, fishing and commerce: the seasons (with very harsh winters) and the years pass, happily, until History catches up with the family. The Grand Duchy of Finland is then a component of the Russian empire and in a secondary action of the Crimean war of 1854, English war vessels appear. Janne must flee and Maja finds herself alone with her children and an English troupe led by lieutenant John Wilson (Desmond Eastwood), who takes up residence in her house. After this first shock, Maja will have to confront other tragedies and emancipate herself, learn and try to stay standing in the face of arbitrariness, throughout a rich and tumultuous life.

Classical in design, Stormskerry Maja (an adaptation of novels by Anni Blomqvist) fulfills very well its epic, romantic and feminist contract during its 152 minutes and without ever letting boredom lurk. The suggestive setting of the island and strong performances draw, with a beautiful mastery of time ellipses, a very touching portrait of a woman stronger than she thought she was and which easily resonates today: “I’ve survived war, famine and trials. Is that worth less because I’m not a man? I’m not crazy and I’m not afraid.”

Stormskerry Maja was produced by Solar Films. Picture Tree International handles international sales.

(Translated from French)