As SXSW gears up for its highly anticipated film premieres, Swedish director Mattias J. Skoglund is preparing to unveil his latest psychological horror, The Home. Speaking to Nordic Watchlist over Zoom from Austin, Texas, just days before the film’s debut, Skoglund reflects on the eerie, deeply personal story he has brought to the screen.
The Home follows Joel, a man forced to return to his hometown to care for his ailing mother, Monika, who has recently suffered a severe stroke. However, as her condition worsens and she begins exhibiting disturbing behavior, Joel starts to believe that something sinister has followed her back from the brink of death. The film blends supernatural horror with psychological drama, exploring themes of trauma, memory, and the thin line between reality and delusion.
Skoglund, an experienced storyteller across film, television, and radio, has a reputation for crafting suspenseful narratives with emotional depth. His past work includes the critically acclaimed TV drama Dough and the award-winning radio horror series Voices of the Dead, making him no stranger to the art of unsettling audiences. With The Home, he continues his exploration of fear—not just of the supernatural, but of our own pasts and the unresolved wounds that haunt us.
Nordic Watchlist: I wanted to start by asking about the title. I had recently seen Home Sweet Home, which also dealt with a care home setting. Were you ever tempted to change the title for the international launch?
Mattias Skoglund: We considered it because The Home isn’t the most original title. But since it’s based on a book, we decided to stick with it. We didn’t want to mess around too much with something that already had an identity.
Nordic Watchlist: That makes sense. How did you first come across the book?
Mattias Skoglund: The book’s author, Mats Strandberg, is a friend of mine. We move in the same circles, and I actually got to read it at the manuscript stage, even giving notes on it. At the time, I was looking for feature projects that could realistically be made on a lower budget. This story had three main locations, which made it feasible.
But above all, I found the theme and setting genuinely scary and unnerving. I’ve had relatives with dementia, and witnessing someone lose their sense of self is deeply unsettling. It’s also one of the few horror books I’ve read that balances strong characters and emotional depth alongside the scares. That’s what made me want to adapt it.
Nordic Watchlist: It sounds like it was meant to be. You mentioned wanting to make it as scary as possible while offering something deeper. How did you balance psychological horror with more traditional horror elements?
Mattias Skoglund: It was definitely a challenge. In the first couple of script drafts, we did a fairly straight adaptation of the book, but it wasn’t quite working. Then, we decided to take a looser approach—focusing on the feeling of the book rather than sticking rigidly to the structure.
We also removed a lot of characters. The book has multiple perspectives, but for the film, we wanted to hone in on Joel, his mother Monica, and Nina. Many of the elderly characters were rewritten based on my own experiences observing people in dementia homes. I spent a lot of time there, just listening and absorbing the way they interacted, which really informed the script.
Nordic Watchlist: That’s fascinating. The film lingers with you long after watching. Did working with the book help in layering those emotions, or did you face challenges in the adaptation?
Mattias Skoglund: Definitely challenges. Like I said, our first versions were too faithful to the book, and it wasn’t clicking. Once we gave ourselves the freedom to make changes, it started working better.
For example, the theme of trauma—especially as it connects Joel and Monica—was something we developed that wasn’t in the book. We also changed aspects of the backstory. The adaptation ended up keeping the essence of the book but reworking a lot of the structure.
Nordic Watchlist: The cast is incredible. I was immediately drawn to Gizem Erodgan – such a brilliant actor. And so great to see Philip Oros, who we feel is really underrated. How involved were you in the casting process?
Mattias Skoglund: Very involved. Philip and I worked together on a TV series a couple of years ago, and I saw his ability to bring both toughness and vulnerability to a role. I knew he’d be perfect for Joel.
Gizem is so good with nuance—she’s incredibly present in every scene. And casting Monica was tough. We auditioned about 30 established actors, but it wasn’t clicking. A lot of them were acting dementia rather than being it, if that makes sense. Then, Anki Lidén came in and just owned it. She brought this raw physicality and intensity that made it clear she was the right choice.
Nordic Watchlist: It’s such a fine line, and she was phenomenal—terrifying yet heartbreaking. You also cast local non-actors from Gotland’s retirement communities. What was that experience like?
Mattias Skoglund: Amazing. My assistant director, Elias, did the casting and got in touch with local retirement homes. We held open casting calls, and a few of the older actors in the film had never acted before. That authenticity really added to the film’s atmosphere.
Nordic Watchlist: Absolutely. Elderly characters often evoke sympathy, but in The Home, they also turn into something unsettling. There’s so much to unpack in terms of themes. Beyond the horror, what messages were you hoping to explore?
Mattias Skoglund: For me, the film is about the fear of losing control—over your mind, your body, your choices. Joel’s fight to save his mother from supernatural possession is also about him trying to save himself. Trauma is the demon in this film.
I also played with control in a broader sense. There are lots of scenes where characters tell each other what to do, from subtle manipulation to outright dominance. This came from my observations in dementia homes, how staff gently control residents’ lives, even when well-intentioned.
Ultimately, I hope the film is seen as a story of overcoming trauma. Joel is on the path to healing, even if that isn’t obvious at first glance.
Nordic Watchlist: That’s such an interesting take. Horror films that delve deeper tend to resonate more. I thought of Relic, which also deals with dementia in a chilling way. SXSW is known for showcasing bold, unique films, and Nordic horror has done well in the U.S. in recent years (Speak No Evil, The Innocents). How excited are you for the screening?
Mattias Skoglund: So excited. It’s my first time at SXSW, and I’ve heard audiences there are really enthusiastic about films. I’m nervous but looking forward to seeing how people react.
Nordic Watchlist: Have you seen it with a live audience yet?
Mattias Skoglund: No, this will be the first time!
Nordic Watchlist: A festival crowd will really bring that energy. Before I let you go, are there any other films at SXSW you’re excited to see?
Mattias Skoglund: I’m just going through the schedule now. I definitely want to catch the other Midnight films, and The Disclosure documentary looks interesting. I’ll be booking as many as I can.
Nordic Watchlist: Enjoy it! Thank you so much for your time, and I hope The Home makes its way to the UK soon!
The Home screened at SXSW – no release date is confirmed yet
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