“The Gullspång Miracle”—a documentary directed by Maria Fredriksson—is a cinematic Matryoshka doll that involves a long-lost sister, Nazi threats, divine intervention, and a possible murder.
begins with documentarian Maria Fredriksson instructing her subjects, Norwegian sisters Kari and May, to do multiple takes of their opening scene—a stark vision of a filmmaker trying to manage her non-fiction material.
Craziest of all, however, is that by the time it reaches its wholly unexpected conclusion, Fredriksson’s documentary suggests that perhaps our stories aren’t governed by fate, chance, or a higher power. Instead, with a bit of effort , we have the power to write the narratives we want—or, at least, best suit our needs.proceeds from a flabbergasting development. During a visit to see her sister Kari in Sweden, May hurt her tailbone while riding a water slide at a local amusement park.
They were right. Months later, upon going to the realtor’s office to sign paperwork for the apartment, they met the seller, and couldn’t believe their eyes: the woman was the spitting image of their deceased older sister, Lita. “It was a miracle, and it was just the beginning,” says Kari. In that regard, she was also correct. The doppelganger’s name was Olaug, and until the age of 18, everyone had called her Lita. She also shared the same birthdate as Kari and May’s sibling.
presents a rather reasonable explanation: Lita and Olaug were twins, and in 1941 Norway, their parents had split them up in order to prevent occupying Nazi forces—who loved experimenting on twins—from abducting them.
Staring at the still life that originally inspired this odyssey, May muses that interpreting images is “in the eye of the beholder.” If nothing else, the fascinating
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