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Stig Manner lives a tough and unglamorous life doing odd jobs to survive while, at the same time, acting as talent manager for his singer friend, Janos. But while he’s out trying to make things happen, the more bohemian Janos prefers to wander about; free from society’s demands.
Stig believes that his protégé’s odd behavior is just a natural part of every artist’s psyche. But is it? Is Janos a great, undiscovered talent or just another freak on the street?
Is Stig really out to have Janos be recognized as the brilliant musician he believes him to be so that they both can enjoy success, or is it just a case of an old man trying to make amends with the past?
Film's Website: http://www.songoftomorrow.com/
Song of Tomorrow is the debut feature film of Jonas Bergergård and Jonas Holmström. Long time friends Bergergård and Holmström started filming together in 2001, and were both quite inexperienced and new to the film medium. But they shared the same vision and approach regarding storytelling. With neither finances nor noteworthy technical know-how, they started to experiment, and together they developed their own unique style of filmmaking. During this period of finding their common artistic language they created several acclaimed short films, amongst others Natan - Grand Prix winner of Clermont-Ferrand ISFF (2004).
Jonas Bergergård was born 1966 in Karlstad, Sweden. At the age of 20, Bergergård abandoned his anticipated medical career to pursue more cultural endeavors. He started writing music and attended numerous art classes, a fact which totally turned the tables on his plans for studying medicine. Life became chaotic, but alive. While working a summer job in a mental institution Bergergård met a woman who made a great impression on him. He decided to write a book about her. And at some point during this process his desire and longing for storytelling was born.
Jonas Holmström was born 1964, also in Karlstad. Holmström started his artistic career at an early age, attending both art and acting classes. Up until 1998 he was making his living as a painter. When a regional film resource center announced a scriptwriting competition, a turning point was reached. Just for fun, he started to work on some scripts. One year later he had made his first short film, and while doing that he discovered his love for the art of filmic storytelling.
The filmmaking of DoubleJonas (a name the director duo has used throughout their short films) is both a process of recognizing and telling the hidden stories of everyday life. Listening to voices that want to break out and expose themselves to the world. To find paths within the storytelling that affects not only the viewers, but the filmmakers as well. One could argue that this is one of the biggest challenges of both writing and filmmaking – to seek out the stories you did not know existed, but stories that were right in front of you all the time. These stories have to be treated very delicately in order to make them visible. Often they are both fragile and somewhat photo-phobic, so they require a lot of patience and an open mind. In DoubleJonas’ films the understanding of this sensitivity is visually portrayed both in the honest and close-to-life acting and in the careful deliverance of the story.
