Emil H. Jonsvik is a Swedish director who went from skateboard films to breakdance videos to one of the most viscerally urgent films about gaming addiction and digital control. His film God Mode began with his son's voice through a bedroom door — and became a conversation that parents and children desperately need to have.
How did your journey into cinema begin?
My journey began at twelve with skateboard movies. Later, I moved into breakdance films. Skateboard culture taught me a vital lesson: you try and try until you get it right. That "never give up" mindset remains with me today. I progressed from electrician to cinematographer, and finally, to director. Understanding every technical step allows me to direct with more impact and know exactly where to focus the energy.
What was the driving force behind God Mode?
It started with my son. Hearing him yell, "I am God, I can control everything!" from his room was a revelation. I became fascinated by how digital systems control us. We called the project God Mode because gamers often want to feel immortal and in total control. There is a thin line between a hobby and addiction — in Sweden, reports show that nearly half of young males struggle with gaming addiction. I wanted to create a film that starts a dialogue between parents and youth.
Which directors or films influenced your approach?
I grew up inspired by raw, powerful films like Kids, La Haine, and City of God. These movies have their own "breath" and atmosphere. My background in hip-hop music videos also played a huge role. I believe in making things feel real, underground, and independent. I want to inspire people in Ukraine and around the world to find their own stories. Don't wait for the perfect moment — create it.
"I call these 'beat films' — where rhythm and storytelling are inextricably bonded."
What inspired your visual aesthetic?
I love the visual language of cinema. For God Mode, I connected rhythm with hand-held camerawork to make the audience feel like they are inside the story. I developed a look using 16mm and 35mm film grain, scanning it from real film. Even though the story is a digital sci-fi, I recorded the audio on analog tapes to give it a specific "warmth." I call these "beat films" — where rhythm and storytelling are inextricably bonded.
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