Gunvor Nelson

Far less critical of gender roles than her other work (that which I've seen at any rate), Gunvor Nelson's My Name is Oona emerged as one of the loveliest works in American cinema of the late 1960s (a time when you could use such terms as 'poetic' and 'cinema' in the same sentence and still maintain a straight face), and remains so to this minute. (blog.brightlightsfilm.com)

Gunvor Nelson takes us on a fragmentary road trip through the Swedish countryside. Both live footage and animation is used. (mubi)

Moons Pool is a masterful and lyrical use of the film medium to portray the search for identity and resolution of self. Photographed under water, live bodies are intercut with natural landscapes creating powerful mood changes and images surfaced from the unconscious. (mubi)

Ellion Ness, a thoroughly professional stripper, goes through her paces, bares her body, and then... (mubi)

Schmeerguntz is one long raucous belch in the face of the American Home. A society which hides its animal functions beneath a shiny public surface deserves to have such films as Schmeerguntz shown everywhere - in every PTA, every Rotary Club, every club in the land. (mubi)

FRAME LINE is a collage film in black and white. Glimpses (both visual and audial) of Stockholm, people, gestures, flags and the Swedish national anthem appear through drawings, paintings and cut-outs. It is a film with an eerie flow between the ugly and the beautiful about returning, about roots and also about reshaping. (ercatx.org)

A birth on the beach. (imdb)