The Car Spotter (2022)

2023 HOLLYSHORTS FILM FESTIVAL REVIEW!

Car spotting is effectively the practice of observing and recording the cars that you see. Peo (Mats Qviström) is The Car Spotter in his small town. He sits there on a semi-busy road, watching the cars pass by, and recording everything that he can about them. This is one of the things that he loves most in this world–but because of it other aspects of his life are suffering. He now has to determine what’s most important in his life.

The Car Spotter has a solid story, one that, regardless of whether viewers are able to connect with the actual act of car spotting or not, is incredibly easy to follow. It’s straight forward, and even in the layered moments it’s very easy for viewers to follow along and understand the meaning. While this may be a little outside the norm for the majority of people, they are able to make connections with the film’s content as a result of its simplicity. I like that I was able to sit back and watch The Car Spotter without having to think too hard, without really having to dive too deep into the narrative. With everything laid out nicely for me, I was able to focus on things like the cinematography, the setting, and more. That provided additional meaning, meaning that may have been lost if I had to think too much about the film.

Looking back, the thing that remains so prominent in my head regarding The Car Spotter is all of the open space that remains behind Peo while he’s car spotting. He is surrounded by empty space, and it would have likely been easy to place him anywhere else, even somewhere with more traffic–but this emptiness that lurks in the background plays a pivotal role in the film. The thing that he loves, car spotting, sits just before him–cars passing by. Yet, all the emptiness sitting just behind him, and seemingly extending forever, represents the things that he is neglecting, leaving behind when he is out doing his own thing. This aspect of The Car Spotter is a bit of a thinker, but I think that it’s become my favorite part of the film. Just looking back at it, the physical beauty that exists throughout the course of the film is astonishing–and the juxtaposition of the cars zipping by in front of Peo and nothing existing behind him is maybe the best example of this.

With understanding the plot and the point of The Car Spotter comes drama and emotion. At the heart of this film is a story of love, one that has transcended decades, far longer than most stories of that nature these days. I’m not sure that the story alone is enough to really tug at the heartstrings, though, and Writer-Director Martin Sandin has to find a way to pull viewers further into the film. He does that with the cinematography. Nearly the entire film is filmed using close ups–and it becomes incredibly intimate as a result. Viewers can see the slew of emotions that exist on the faces of everyone involved, and as the story moves forward I couldn’t help but fall in love with the couple in question, Peo and Birgitta (Ann-Sofie Kylin).

The Car Spotter is simple, I can’t stress that enough. To some that may hinder their opinion of the film, but not me. The simplicity allows viewers to appreciate other aspects of the film, aspects that add to the narrative and better reach those viewers. Through the stunning landscape (and all of its meanings), wonderfully emotional acting, and intimate cinematography, The Car Spotter brilliantly captivates audiences and rejuvenates their belief in love.

Written & Directed by Martin Sandin.

Starring Mats Qviström, Ann-Sofie Kylin, & Björn Andrésen.

⭐⭐⭐⭐⭐⭐⭐⭐½/10