War Series ‘A Life’s Worth,’ About Swedish Soldiers in Bosnia Looks for ‘Decency in the Chaos,’ Sells to Spain, Greece: ‘It’s a Forgotten Conflict’ (EXCLUSIVE)

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Viaplay Content Distribution has pre-sold “A Life’s Worth” to Spain (EITB) and Greece (Vodafone), before it premieres at Series Mania in its International Showcase. This means that the rights to distribute this series have been purchased by these countries ahead of the official premiere.

Ahmed Abdullahi’s six-part series draws inspiration from the trials encountered by the initial Swedish U.N. battalion deployed to Bosnia in 1993.

The six-episode production by Ahmed Abdullahi is based on the hardships experienced by the first Swedish United Nations battalion, dispatched to Bosnia in 1993.

A Life’s Worth,” a series created by Yellowbird in collaboration with Viaplay and Arte France, is not only available on these platforms but has also been licensed to Arte for broadcast in France, Germany, Switzerland, Belgium, Luxembourg, and Austria. Additionally, Viaplay holds distribution rights in other parts of the world.

Mona Masri and Oliver Dixon, the writers of the show, stated that Swedish soldiers willingly chose to go, not being forced. Some sought employment, others desired excitement. Remarkably, many were unaware of the reasons for that war. Ultimately, they experienced more than they anticipated.

The United Nations serves as a peacekeeping organization. It’s been reported that some of the weapons they had were inoperable, as they were not intended for use. However, it became evident that people were being brutally killed.

The show was aiming to authentically reflect the experiences of individuals who have been through war, as suggested by the book with the same title written by U.N. soldier Magnus Ernström, who also served as a consultant for the series. This authenticity aimed to convey the sense of powerlessness that such individuals often feel.

The drama ‘Quo Vadis, Aida?’ by Jasmila Žbanić effectively illustrates this point: individuals were powerless. The colonel in our production was modeled after a real figure who wasn’t permitted to employ force when safeguarding civilians. He asserted that dialogue is impossible with someone brandishing a weapon; instead, one must react using the same means.

Masri emphasized the importance of keeping in mind the events of the Bosnian War, given Sweden’s substantial population of migrants originating from the Balkans.

The Russian invasion of Ukraine was labeled by some as the first war in Europe since World War II. However, one might argue that the conflict in the Balkans should also be considered, often overlooked as it is. Regardless, I opted against using it as a backdrop for a ‘Swedish story,’ despite the series being Swedish-produced.

Johan Rheborg, cast as the controversial colonel, remembered the events portrayed in the show.  

Initially, some of my friends attended that place. However, their involvement was rarely discussed, and it was risky for politicians to acknowledge they dispatched Swedes to battle. These young individuals, serving as U.N. soldiers… It’s unclear if they were fully aware they would find themselves in such perilous circumstances. I strongly doubt it.

According to his co-star Erik Enge, young fighters wanted to “make a difference.”  

They were present for a reason, but figuring out how to accomplish it is a separate matter. To be clear, they weren’t professional soldiers and didn’t have experience handling perilous situations. In the show, they often find themselves in difficult circumstances, looking at each other with uncertainty: ‘What should we do now?’

Edvin Ryding, Maxwell Cunningham, Toni Prince, Sandra Stojiljković, and Johannes Bah Kuhnke complete the ensemble of actors in this production.

According to Rheborg, the book “A Life’s Worth” might be considered “controversial” in private settings, but Sweden’s perspective on war and military disputes has evolved significantly. On March 7, 2024, they officially joined NATO.

In the past, Sweden was quite self-centered and focused on its own affairs, with little expectation of being drawn into another conflict. Today, a significant portion of the budget is allocated towards defense spending. I wonder what modern perspectives might be about this shift in focus.

Engie concurred, stating: “At that time, Sweden took great pride in its neutrality. The war was intricate. However, one of the motivations behind sending UN peacekeepers to Bosnia was Sweden’s desire to demonstrate its ability to contribute to the European community. It marked the beginning of a new chapter.

For Enge, it mattered more to portray actual life events truthfully rather than aiming to amuse an audience. However, as Masri points out, narratives about armed conflicts are not solely about violence.

She mentioned that it’s not just about serious matters like buying bread or getting married, but life moving forward. It’s quite astounding how swiftly we adjust to changes. This perspective added a more cheerful touch to the interactions between the characters.

Enge suggested that one effective method for dealing with traumatic events and harsh sights is by using humor. He explained that this approach enables both the characters and the audience to have a moment of relief,” recalled Rheborg, drawing from his personal experiences.

During times of stress and high anxiety, people often crave normalcy. This was true for me during the tsunami in Thailand. After the disaster had passed, we found ourselves on a hotel balcony. The air was filled with silence until someone broke it by suggesting, ‘Anyone fancy a swim?’ We all burst into laughter. No matter how grim the situation, finding something to laugh about is always desirable.

He stated, “These figures aren’t arbiters of right versus wrong. All they recognize is that a crime against the innocents is a transgression, regardless of who perpetrates it. They strive to discover some semblance of decency amidst the turmoil.

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2025-03-23 12:16