PRINT Summer 1999


“I think we have a visitor.” With a robust grip, Dr. Ruth Fielding, the protagonist of Ann-Sofi Sidén’s 1997 film, QM, I think I call her QM, reaches under the bed and drags out the naked monster-woman caked in mud. “Don’t be difficult. For God’s sake come on!” Dr. Fielding, who’s a bit of a control freak and prefers to interact with the world beyond her apartment walls through surveillance cameras, records her every thought on tape. “I see as my assignment to see who she is, and what her purpose is,” she intones into the microphone, and we hear the sentence immediately played back. “Hm . . . Origin and age unknown, mammal features. She’s obviously of the female species, and in pretty bad shape.” The scene is set for a compelling power/knowledge thriller.

The point where reason turns against itself and into something very different—a form of madness, perhaps?—is the locus of Swedish-born

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