Watch They Call Us Misfits

They Call Us Misfits, also known by its original Swedish title Dom kallar oss mods, is a compelling 1968 documentary that holds a significant place within Swedish film history. Directed by Stefan Jarl and Jan Lindqvist, the film provides an in-depth and unfiltered look at the lives of a group of rebellious youth in Stockholm during the late 1960s. The documentary follows two main characters, Stefan Jarl (who is also the co-director of the film) and his friends, Kenneth 'Kenta' Gustafsson and Gustav 'Stoffe' Svensson, as they navigate the uncertainties of their lives, marked by both personal struggles and broader societal shifts.

In this intimate portrayal, the trio is representative of the subculture known as the "mods" in Sweden, a group characterized by their particular fashion sense—entailing leather jackets, tight jeans, and mop-top hairstyles, reflective of their strong inspiration from British mods—and their penchant for pop music, motorcycles, and a generally hedonistic lifestyle. However, beyond these surface traits, They Call Us Misfits delves deeper into the inner lives and existential dilemmas faced by these young individuals.

At the core of They Call Us Misfits is an exploration of the themes of alienation, disaffection, and the search for identity in a rapidly modernizing world. Kenta, Stoffe, and their fellow mods are shown to be on the fringe of society, largely misunderstood by the older generation and often depicted in the media as problematic or as societal dropouts. The documentary challenges these simplistic labels by offering viewers a chance to hear directly from the subjects themselves. Through candid interviews and casual conversations, the central figures speak about their dreams, fears, and opinions, allowing the audience to see the world through their eyes and understand their lived reality.

The filmmakers took an experimental and highly personal approach to the project. They embedded themselves within the mod community, capturing not only the external expressions of the subculture but the more nuanced aspects of these young people's lives. The result is a narrative that feels raw and immediate, as viewers are shown the real environments—ranging from city streets to private households—where the subjects spend their days and nights. The use of handheld cameras and natural lighting heightens the sense of realism and intimacy.

In depicting both the exhilaration of youth and its accompanying angst, They Call Us Misfits does not shy away from addressing the darker aspects of the mods' lives, including their confrontations with authority, substance abuse, and the challenges of finding purpose and direction. It paints a portrait of a generation caught between the conservative values of the past and the enticing yet uncertain prospects of a changing future. The documentary also touches on socio-political issues, as the mods' lifestyle can be seen as both a form of resistance to conformity and as a coping mechanism within a welfare state that, despite its efforts to provide for its citizens, might not fully address the needs and desires of its younger demographic.

Distinguished for its authentic voice and groundbreaking methodology, They Call Us Misfits is much more than a mere snapshot of a particular youth culture; it is a time capsule that captures the mood and spirit of the 1960s’ counterculture movement as it manifested in Sweden. The documentary's title itself is an act of reclamation—a way of embracing the label given by an often disapproving society and simultaneously challenging the negative connotations associated with the word "misfit."

Beyond its socio-cultural commentary, the film is notable for the rapport that the directors were able to establish with their subjects. By giving Kenta, Stoffe, and their peers the space to articulate their thoughts and experiences without overt judgment or manipulation, They Call Us Misfits fosters a sense of empathy and understanding that many documentaries aspire to but few manage to achieve.

They Call Us Misfits is often credited with influencing future generations of filmmakers interested in portraying the intricate realities of youth culture. As the first part of what would become Stefan Jarl's "Mods Trilogy," the film sets the stage for subsequent works that would continue to follow the lives of Kenta and Stoffe, rendering it an influential piece within the context of longitudinal studies in film.

In summary, They Call Us Misfits stands out as a vividly evocative and humanizing account of a youth subculture at a particular moment in time, offering audiences a glimpse into the lives of individuals who, through their challenges and aspirations, encapsulated an essential part of the social and cultural fabric of 1960s Sweden.