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Petra Revenue, Sweden. Born 1965. Artist, dramatist, director and writer for theatre, film, radio and tv. She has published a number of books. You can listen to Petra on sundaymornings as she sidekicks the show SÖNDAGSMORGAN aired on swedish national radio. 

Contact her here

Petra is the headteacher at Alma Manusutbildning  A school for professional screenwriters... and she gives regular classes at Valand, the university of Gothenburg, at the institution for art, film and photography. She also gives private courses in Sweden and Italy.



Films and TV


Instagram (pictures that doesn´t make any sense from my everyday life)


Giving a class at Alma.

 Latest book: Modersgölen. A fiction novel on the complex subject of femininity and fear. 2019

Artist statement

My mission in life and art is fairly simple. I’m terrified of simple truths and black and white views. I aim to create characters and stories that carry complexity and ambivalence, and I want to do this in a beautiful and entertaining way. I combine the absurd with everyday reflections and in doing so I think I’ve found my style and mission. 

 In the radiostudio with Morgan Larsson P4 riks 2020.


Before becoming a writer, Revenue studied social anthropology and is interested in what ties people together across language and cultural borders. Between 1990-2020 she was one of the artistic directors at Theater Trixter in her hometown of Gothenburg, Sweden. 

In Samrit, Isaan. Artist-in-residens 2017

Since her theatrical debut, Petra Revenue has written some twenty plays, several of which have received critical acclaim. These include The Least You Can Ask For (bilingual, Farsi/Swedish), The Dancer’s Woman (multicultural ensemble) and Valkyria (radio play that premiered on Swedish National Radio).

One of her most recent plays is Bardo was created in Iraqi/kurdistan, where she has a long-term collaboration with the Kurdish Fine Art Society. She also did some tv in the region. Here an image from a cultural tvshow on the subject of women, honor and courage.

Revenue began to write for film and television with the TV drama The Big Theater for Swedish National Television (SVT) 2001. Since then she has written a wild mix, from screenplays for Henning Mankell’s Wallander to her own debut feature film Almost Elvis, where for the first time she combined her two genres film and theatre. Almost Elvis was selected for Sao Paulo Film Festival and the Mexico International Film Festival among others.

Meaty Marta, an animated film about the hungriest goldfish in the universe. For children 3–6 years old. 2017. Take a look here.

In 2006 Revenue’s first book was published, a collection of short stories nominated for Swedish National Radio’s Short Story Award, an award that she won in 2009 with “The Best View” (originally published in an anthology for the humanitarian fundraising drive, Children of the World). She has continued to write in all genres.

Some exemples of work

She wrote the script for the film The Ice Dragon. Among other festivals it was entered in competition at the youth section of the Berlinale.

Having fun at Berlinale 2011

Some of the Festivals Göteborg 27/1-6/2 youth-section Berlinale 9-19/2 Generation Kplus (in competition) Montreal children 3-12/3 (in competition) Buff 13-17/3 (in comp) Winner best film Kristiansand 24-28/4 (opening film) Newport Beach 26/4-3/5 Palic Serbia 14-20/7 Tel Aviv children 22-27/7 Winner best film youth jury + Winner best film adult jury Espoo Finland 17-26/8 Haugesund 17-23/8 Seoul youth 23-29/8 Nueva Mirada Buenos Aires 30/8-5/9 (in comp.)Lucas Frankfurt 2-9/9 Nordkapp 12-16/9 Buster Copenhagen 13-23/9 Festroia 21-30/9 Hamburg 27/9-6/10 Jerusalem/Ramallah 11-18/10 Cine Sparks Brisbane 15-20/10 Cinekid 17-26/10 wants to show Washington kids 17/10-13/11 Filem’on Brussels 28/10-4/11 Lübeck 31/10-4/11 Tallinn Black Nights 13-28/11+ Tallinn Just Film Kinodissea Rumänien 16-21/11 (in comp)Castellinaria 17-24/11 Olympia Athens 1-8/12

Revenue co-created Blue Eyes, a 10-hour dramaseries for TV about the neo Nazi movement in Europe. Shown 2015–1016 (now on netflix)

Petra took part in Love Explosion, a group exhibition at Göteborgs konsthall, Gothenburgs artmuseum 2013 with her installation Fysical Evidence about her fathers death in Thailand.

En installation/performance i Berlin "doubles" with artists Hanneke de Werf, Anneliese Vobis and Lena Selander. 2014.


Im part of The Swedish Film Institute's Screenplay Initiative that focus on established female screenwriters.
Here with Tove Forsman, Sofie Forsman, Carin Pollak, Therese Bringholm, Dunja Vujović, Petra Revenue, Maria Karlsson och Malin Marmgren. Saknas på bilden gör Nisti Stêrk, Agneta Fagerström Olsson, Cristina Gottfridsson och Ida Kjellin.


A film about a magnificent mourning process.

68-year-old Milda Sax suffers from a brutal sexual awakening after her dominant husband dies and fears that the desire and her own violent side will take its toll on her. Instead, it almost kills her rival, a woman the same age as her, who turns out to be her 50-year-old toyboy's mother. The immediate passion when she meets the vet Bo becomes so strong it also awakens her dreams. But does she manage to become who she really is… as a woman and artist… or is it better to try to be content watching tv and taking yogaclasses for seniors?

Producer Malin Söderlund Unlimited Stories.


Writer / director Petra Revenue and dancer / choreographer / actress Gilda Stillbäck met during the project Mixed Minds on Fårö 2018 and designed a pilot for Ingeborg's Manifesto. Later composer Björn Knutsson and filmmaker Lina Ikse joined the project that became both a play and a shortfilm. Ingeborgs Manifesto is invited to close the Bergman Week at Fårö the summer of 2021.

Gilda Stillbäck as Ingeborg. Foto Lina Ikse

Our ambition was to create a female character, a feminine body that speaks with Ingemar Bergman's words. We want to examine the following questions: Is new meaning created if the male genius is not male anymore? 
Exploring Ingemar Bergman's way of addressing his employees and describing his private life with his own words was initially a humorous experiment. It became clear both how distant and frivolous he describes the break-up with women, his obsession with his own mother and the absence of empathy for his children as well as a total, almost narcissistic, focus on his work. The paradox perhaps lies in the fact that despite these glitches in character he still manages to portray women who speak to us. Deep psychological portraits that we can relate to and want to see more of. How does this happen? How can our play and film be a comment to this enigma?

Residencies  BERLIN 2014  THAILAND 2017