At night in Öland, Sweden, a bus drives across the bridge. Inside Borgholm Castle, millions of people wave sparklers, waiting for Roxette to perform the next song.
Marie runs her hand on the microphone stand before singing. Per points his finger in the air. Barefoot, she steps back and holds onto the microphone while she sings. Fans stand up and wave their arms. The monitor records her movements. She smiles as she moves the microphone stand. She tilts her head back, closing her eyes and stretches out her arms. Per sings along and spins as he plays the guitar. A fan holds out a sign.
Marie holds the microphone again. A guitarist plays next to her and she moves her head towards his shoulder. While Per plays, she walks behind the platform and begins to sing in the center of it. Per walks the stage. A couple links hands.
Marie walks back to the front of the stage, touching her neck. She closes her eyes and belts the final notes.
The Borgholm Castle stands tall, resilient from the effects of nature and war. In the night sky, its majestic strength undisturbed by the music below. The aerial views, while encompassing, provide a cursory look. It’s a ruin that expects exploration in every crack. However, only quick glances are provided.
Marie, in a little black dress, keeps a distance from the fans. She opts to stay by the microphone and remain in the center of wherever she is on the stage. She seems to be protecting herself from overzealous fans who would want to touch her feet. Marie also adopts a “connect with everyone” policy by directly looking into the audience, but not in any specific location.
Per seems to interact a bit more by pointing his guitar towards the front row, who have been ignored for the entire song. After Marie’s vague attempts at connection, Per’s tough expressions is an improvement. Nonetheless, the audience’s love for Roxette is unrequited.
Director: Doug Freel Year: 1989