Maria Loohufvud is an art director with a background in music and dance. Her feminist engagement has led to projects on many platforms, such as the equality game Komma Lika. Together with Love Martinsen, she has formed the new independent production company Pink Dolphin.
“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 “Calendar Girls” is a life-affirming dance documentary that is shaking up the outdated image of what it means to be an “old lady.”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. The same night we contacted Katherine, the leader of the Calendar Girls, for an interview, and she was up for anything.
W&H: What do you want people to think about after they watch the film?
ML: I want people to feel inspired. To put on their dancing shoes and go find their own 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. I guess the girls themselves inspired us a lot to dare to follow our own intuition and have that punk attitude.
W&H: How did you get your film funded? Share some insights into how you got the film made.
ML: We are very very grateful that Sweden has such good support for filmmakers. The film is funded by the Swedish Film Institute, Film Stockholm, Swedish Television, Swedish Arts Grants Committee, Filmbasen, Nordisk Film and TV, and our own production company, Pink Dolphin.
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. So we got the idea about doing a film together, and luckily we stumbled upon 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. Most often people do it with love, but I hate that attitude. Why shouldn’t I have high expectations?
W&H: What advice do you have for other women directors?
ML: Own the rights to your film when possible, and produce it yourself if you can. 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? Are you keeping creative, and if so, how?
ML: It has forced us to find new ways. Like walking on Google Maps instead of scouting a good location in real life. Hiring a photographer in Florida instead of traveling ourselves. 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 actions do you think need to be taken to make it more inclusive?
ML: That each and every person in the industry dares to face our prejudices as well as our privileges.
