Kim decides to remain in the forest and to live off nature. As protector of nature he is fully occupied compensating for the deeds of his fellow human beings. He collects mountains of trash and buries birds who haven't survived people's thrill of speed. Soon Kim's tasks become more serious. He finds traps people have placed to catch wild animals which are subsequently shot by hunters, killing only for the sake of killing. Now Kim has to figure out a way to save as many animals as possible from a senseless death, using all possible means. (...)

Not everyone is pleased with Kim's life in the forest, not least because he keeps the adults from causing havoc in nature. Again and again, Kim is hunted down by the villagers, but he always manages to escape. A young policeman is particularly keen to catch the boy. He can't bear the thought that his authority is undermined by a child's cunning. Even though his senior colleague cautions him to hold back he decides to catch Kim at any cost. (...)

The message of I'M YOUR WARRIOR is clear: We have to protect nature. Kim has understood this. Protecting nature is his way of making everyone else understand. But too many people don't, defending their own interests against nature takes priority. Nature should be preserved as much as possible for future generations. (Stefan Jarl)

Stefan Jarl's father was very interested in photography and made 16 mm films. When Jarl was 12 he borrowed his father's 8mm camera. (...)

The cinema in his hometown of Skara was a very important place for the young Stefan Jarl. He watched as many films as he could afford. If he didn't have money he would sneak in during the break. At one such occasion he watched a documentary about the extinction of Jews and about concentration camps in Germany. It was a moving experience: "I decided then and there that I would make films. I will never forget it! The importance of the film camera, the importance of documenting, it all came to me in a flash."

His interest in nature was first aroused during his childhood and youth in Skara. He and his friends cycled to lake Hornborga to play and watch birds. (...)

Because of his interest in nature he discovered the films of Arne Sucksdorff. In 1959 Sucksdorff had rented a farm in the vicinity of Skara, beginning the shooting of the film The boy in the tree around lake Hornborga. Stefan Jarl searched him out and offered his services. This first meeting with Arne Sucksdorff was the start of a long relationship, a kind of school for Stefan Jarl which he continued to attend. (...)

In 1965 Stefan Jarl was accepted into the film school in Stockholm and met the film student Jan Lindqvist. They got a commission to make a 15 minute program for television. Radio Sweden (Sveriges Radio) wanted an entertaining and educational feature for teenagers. (...)

"The idea for the film They call us Misfits came out of our analysis of society which we did previous to our 15 minute film," says Stefan Jarl, "We realized that some aspects of reality are never shown. With this film we wanted to give teenagers the chance to see themselves."

After a few problems with financing and censorship the film was released to great success. They call us Misfits premiered on March 25th, 1968, tickets having sold out long before. The film represented pioneering work in the genre of documentary. The magazine ,Chaplin‘ chose it as Best Film of the Year. (...)

All of Jarl's films have one theme in common, i.e. the relationship of human beings to nature. In Revenge of Nature he shows how people try to exploit nature's resources to the utmost, with the consequence that it is poisened, in turn threatening the survival of humankind. In Good People Jarl moves away from documentary to a feature film about Viggo, a boy who looks after an injured falcon. Viggo represents the untouched, our origins. Similar to Kim in I AM YOUR WARRIOR he is an advocate of nature, while his father represents civilisation. And yet, it is no stereotypical struggle between good and evil. "The world does not consist of good and evil," says Jarl, "That would be too simple; the emotional conflict arises when we realize that good isn't always good enough."

Stefan Jarl is a filmmaker who wants to initiate discussions. He wants to make convincing and useful films. "I want my films to go beyond what the images show. I want the viewer to say ,this can't be right', no matter whether the film is dealing with a social question like in the Mods Trilogy, or with the conflict between the progress of civilization and nature. In this sense I want the film to be useful. ,The useful is more than the beautiful', Strindberg once said."

Stefan Jarl was born on March, 18th, 1941 in Skara (South of Sweden). He made his first films in the late sixties. In the seventies he founded a union for filmworkers, a non-commercial film distribution company, a cinema (‘Folkets-Bio', people's cinema) and a magazine.

Stefan Jarl also worked as a production manager for a number of Swedish directors, such as Bo Widerberg, Stig Björkmanm Mai Zetterling and Arne Sucksdorff.

1967: Dom kallar oss mods (zusammen mit Jan Lindqvist). 1969: Bekämpa byrakratin (Kollektivfilm). 1974: Förvandla Sverige (zus. mit. J. Lindqvist); Ungkarlshotellet (zus. mit L.F. Johannsson). 1975: Gisslan Berättar (Kollektivfilm); Bojkott (TV-Kollektivfilm). 1976: Vihar var egen sang - Musikfilmen. 1979: Ett anständigt liv (Forum 1980). 1982: Memento mori. 1983: Naturens hämnd (Forum 1984). 1985: Själen är större än Världen (Forum 1985). 1987: Hotet (Forum 1987). 1989: Tiden har inget namn. 1990: Goda Människor (Forum 1991). 1991: Javna, Renkötare ar 2000. 1993: Det sociala avret. 1995: Samernas Land. 1997: JAG ÄR DIN KRIGARE.