If the title doesn’t give it away, things are far from perfect in Swedish writer-director Mika Gustafson’s debut feature, Paradise Is Burning. Co-written with her creative partner, Alexander Öhrstrand, the film tells the multi-faceted story of three young sisters navigating life on their own after their mother—who remains unseen throughout—abandons them.

Sixteen-year-old Laura is left in charge of tween Mira and five- or six-year-old Steffi. Their newfound freedom might seem like a dream to some kids—no rules, no curfews, and no forced vegetables at dinner—but it quickly becomes clear that growing up too fast is no party. The drama-comedy unfolds on a bed of tender sadness, lovingly sprinkled with an upbeat soundtrack and bursts of comic moments that bring it all together.

Sitting down with Wonderland, Gustafson and Öhrstrand (joined by their 3-month-old baby, Rio) share insights about their creative process, karaoke, and the creation of the world in Paradise Is Burning.

Hey Mika and Alexander. I’m curious to know where the title came from? What does it mean to you?

Mika: I wanted the film to be both poetic and punk at the same time. When we were developing the characters, we focused on the girls [the protagonists]—we wanted them to be sweet, with a strong bond, but also rough sometimes. I find it fascinating when life has that mix of loveliness and toughness. So, we aimed for the title to reflect both of those elements.

Alexander: We also talked about the film being a blend of euphoric freedom and total despair, cheek to cheek. That duality was important for us. We were in Rome during post-production and, one day [Mika] just said, “Paradise is Burning”. We had a bunch of different super bad titles, and when she said that, I thought, that’s kind of nice.

So clearly freedom a double-edged sword in this world. How did you find the balance in depicting both the joyous elements, as well as, the moments of despair that comes with that when writing and directing this? It’s funny, with laugh out loud moments and you’ve got these really upbeat tunes, but then there’s some poignant emotional darker moments. So how did you tread the line between the two?

M: I think it was something that we actually discussed during the writing process. That we wanted the film to tackle serious themes. I remember saying that I really wanted to create a film that takes, you know, kids seriously, that shows them thinking about life and death. But to do that effectively, you have to have humour. Otherwise it becomes too heavy. So, I think we talked about balancing that while writing.

A: Definitely. And we also said that we would never, we never want them [the audience] to feel pity for them. It was important not to portray them as “poor little female children living in poverty”. The foundation of the film is already dark and heavy — these kids were left to care for themselves. You don’t need to add anything on top of that to make it more intense. That underlying heaviness is always there, which allows us to have a bunch of humour without losing touch with the foundation of the film.

How was your experience co-writing this because i’m sure some people might struggle to imagine writing such an intimate story in a pair or a duo. Was it very easy for you guys to work together in that way?

M: I think, in some ways, it works like this: I have an idea, something on the tip of my tongue, but I don’t know how to express it. It’s like I’m searching for something that interests me, and I try to explain it to Alex, but he will say it makes no sense! And then you [to Alexander] are very positive, like actors are, and come up with like ten different ideas, keeping the conversation alive. You always come back to it, saying, “I’ve been thinking about what you said,” and you continue to explore it.

A: We rewrite each other’s scenes so much that, by the end, you never really know who wrote exactly what. We just keep moving things around. I’ll come up with an idea, and then you say “it’s not good,” and then we put it aside. And then later, you’ll bring up the same idea, and I’m like, “Wait, that’s my own idea!” It’s a really messy [process], but that’s the best.

Are the ceremonial scenes we see, such as the period rite and Steffi swallowing her tooth in a shot of vodka, based on personal experience or pure fiction?

M: I once heard a writer say that we should show how it felt, not just how it was. The ceremony had a secondary purpose: we didn’t want the film to not be, “Oh, this is Stockholm, Sweden 2020”. We wanted it to feel like its own kind of world, which is why there are no recognizable landmarks. I don’t know if you’ve been to Stockholm, but there’s nothing in the film that you could point to and say, “this building is here”, you know. We’ve intentionally made it seem like it could be anywhere.

The rituals play a big part in that because it signals to the viewer that this is a movie where anything can happen, a movie that transcends a specific reality. These kids create their own kind of world, and that includes their own ceremonies.

The soundtrack in this film is fantastic. It adds these feel-good moments that give you a break from the intense scenes. Steffi’s dance was my favourite — I definitely see myself as Steffi. Which sister would you guys be?

A: Steffi is the coolest one.

M: I see a bit of myself in all of them. Sometimes I’m like, I’m Micha. Or I’m the karaoke guy — wondering, “Can I really do this? Can I make this movie?” So, in a way, I think we’re all the characters.

A: Did you ask about the soundtrack?

Yes, when writing, did you already have specific songs in mind? Was it a collaborative effort, or how did you choose the songs for those crucial moments, like the karaoke song that Sasha sings?

A: There’s only one song that wasn’t originally written in the script. Everything else was written in from the start. “Keep the Streets Empty” was originally “Brother in Arms” by Dire Straits. But I’m really glad we made the switch, because I think “Keep the Streets Empty” ended up being a much better fit.

M: While writing the script, we would sometimes change the songs. For example, “Gasolina” was one we knew we couldn’t change. Everything was written like a part of the storytelling, you know. I don’t know if you remember, but “Gasolina” plays right after Laura’s aunt says, “I won’t help you”. And then she goes home and the song goes a hundred miles an hour, just because Laura’s mind goes a hundred miles an hour.

A hard question but — what would your karaoke songs be?

A: “Total Eclipse of the Heart”.

Oh, a classic! I love that because you can make everyone sing along. It’s a hard one… I usually go for “Promiscuous” by Nelly Furtado. You need to get one of those songs where everybody can sing along and have a dance, though in this film, it’s more emotional.

M: Just before we started to work with the team, we were actually at the karaoke bar with some friends. And we got up on stage and sang, then afterward, we bought some beers, and a girl [Dilivin Asaad] came up to us and she was like, “Are you Mika and Alex? I think we’re gonna work together.”

What’s next on the cards for you two? I know you said that you kind of are working on a first draft of another script. Is that your main focus for the moment?

M: I thought it would be tough with a 3-month-old, but it has been really easy — maybe because we work together. We got a scholarship to go to the Bermuda Islands to write. And we’re working on two new projects at the moment. I think it’s going to be another Mika and Alex film — something completely different though!

PARADISE IS BURNING is in UK & Irish cinemas from 30th August.