The first three quarters of the film gives one an impression that it is a teenage love tale. The last quarter changes the tale into a socio-psychological film on adults. This last quarter gives one a a glimpse of the later matured Roy Andersson of the 21st century who gave us the rich trilogy of modern life "Songs from the Second Floor," "We, The Living" and " A pigeon sat on a branch reflecting on existence" and following that with a very complex film "About Endlessness."
"A Swedish Love Story" pales in comparison to the last four Andersson films. The monologue of John Hellberg of how he wants his daughter to be rich in life rather than be a country bumpkin and a refrigerator that he sells that does not switch on, much to his disappointment, anticipates the concern of salesmen and eventual joblessness in the trilogy and in "About Endlessness" that followed this film.
"A Swedish Love Story" pales in comparison to the last four Andersson films. The monologue of John Hellberg of how he wants his daughter to be rich in life rather than be a country bumpkin and a refrigerator that he sells that does not switch on, much to his disappointment, anticipates the concern of salesmen and eventual joblessness in the trilogy and in "About Endlessness" that followed this film.