Age: 52
male
Matti Boustedt debuted as a 12-year-old in Staffan Götestam's version of the play "Rasmus på Luffen". Since then he has been involved in more than 60 drama productions such as "Gåsmamman", "Solsidan" and "The Beck Films". Matti has recently participated in several internationally observed and award-winning productions; Ali Abbasi's "Border", the Indian film "Dear Molly" and the Swedish Viking adventure "Draug". Matti is a talented voice actor and has dubbed films such as "Toy Story 3", "Tingeling and the Pirate Fairy" and "Monsters University". He has also worked as a motion capture actor in computer game successes such as "Dice: Battlefield - Bad Company 2" and "Kane & Lynch 2". This spring Matti played the leading role in the TV film "The Road into the Darkness", which will be shown on German ZDF. There he plays the lead role as a policeman whose life collapses like a house of cards, and where the abyss opens. Matti is now doing one of the lead roles in the Swedish film "Mareld" which premiered in the fall of 2019 and he has also written one of the songs in it. - IMDb Mini Biography By: Boustedt, Matti
His father was murdered. His uncle did it. His uncle is now married to his mother and sitting on his father's throne. He knows. Nobody else does. He has to decide what to do with knowing. The fullest, most unabridged feature film adaptation of Hamlet ever produced — three hours and six minutes of Shakespeare's longest, most philosophically complex play given complete screen time. Every scene is present. Every soliloquy is filmed in a single unbroken take. The visual world: medieval Denmark rendered in cold light, grey stone, the specific claustrophobia of a court where everyone watches everyone. The film treats Hamlet as what he is — not simply a man paralyzed by indecision but a man whose extraordinary intelligence makes him unable to act without understanding everything, and who lives in a world where understanding everything has become impossible. The romantic relationship with Ophelia is given its full tragic weight. Gertrude's psychology — does she know? — is treated as the play's most deliberately unanswerable question. Act One — The Ghost The ghost's appearance and its accusation. Hamlet's response — not immediately 'To be or not to be' but the specific practical crisis of being told your father was murdered by your uncle who is now your stepfather. Act Two — The Play The 'Mousetrap' — the play within the play. Claudius's reaction. 'To be or not to be.' The Ophelia scene. The closet scene with Gertrude. Act Three — England and Return Hamlet's exile, Ophelia's madness, her death. Hamlet's return. 'The readiness is all.' Act Four — The Final Scene The poisoned swords. The poisoned cup. Everyone dying in one scene. Horatio's survival and its specific loneliness.
