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The protagonist is the son of a legendary policeman.

It doesn't stink

Happily married with a simple view of good and evil, he fails the harsh training for the armed brigade, but on the advice of his father is accepted by the Internal Affairs Department of the Icelandic police. A golden tip from a prisoner puts him on the trail of a connection between the head of the narcotics brigade and the new gangster king of Reykjavik.

His innocent yet vigorous efforts and use of a female undercover agent with a traumatic past serves to set off an unforeseen chain reaction of revenge, deceit and a battle for power which has tragic consequences. Many interests seem to be tangled up.

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Khavn, the most productive and versatile of Filipino filmmakers, shows the effects of a major and violent political event using a specific family story. Khavn can make crazy and ebullient films, but apparently also films that are serious and restrained. Many people disappeared and were murdered in that time, but Khavn concentrates on one disappearance and how his family had to come to terms with it. Only a couple of protagonists, a radio and an unmentionable disappearance.

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In , Ju Anqi made a film about a tour by the poet Shu through Xinjiang, the most western-lying, autonomous Uyghur province of China. All that we know about Shu is that he plays a poet who sends himself on a business trip — an absurd, satirical starting point that sets the tone for the film. In its documentary authenticity, Poet on a Business Trip is also an historic document that exudes an atmosphere of loss, providing an unsentimental yet melancholy glimpse of a country in transition and a mirror for the existential irreversibility of time.

East Lake Dong Hu is a scenic area in the city of Wuhan, threatened by new amusement parks, high-rises and even an airport. The form is varied and free. Li uses documentary as well as fictional style elements, and often an ironic mixture of both. The film is also a portrait of a police officer who reluctantly has to trace an unstable man who has been seen around East Lake. Jade has always been a valuable commodity in Asia. In the mountains in the north of Burma there are valuable deposits of jade. The area forms part of Kachin State, inhabited by many ethnic groups which found themselves embroiled in the Civil War in with the Burmese government.

Jade mining was halted because of the conflict. Thousands of workers, however, went to the war zone in order to dig for illegal jade. It turned the region into a no-go area and the filmmaker Midi Z, who had so far made feature films in Burma, saw no opportunity to go and film there.

It was far too dangerous. He found an unusual solution. He asked people who were able to go into the area because they belonged to a specific faction, group or gang to take small cameras with them and to film the daily work of illegal mining. Out of that material, much of it of course unusable, he edited this film, which observes the honourable tradition of social documentaries in which hard-working labourers play the lead.

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Her life blossoms when she meets an year-old Swedish neighbour, a charming man who gives her the attention she has long missed. The sensitive Key House Mirror is a surprisingly gentle film from Michael Noer, who directed the hardened prison film R with Tobias Lindholm, and the murky seamy-side drama Northwest His penchant for realism remains, however: he shot part of the film in an existing care home, where many inhabitants play themselves. She has hardly read any of his books. Who was this man, about whom her mother once heard such a terrible story that she never trusted him again?

And why did he leave home years before? In old film recordings, notes and stories from friends and relatives, the maker rediscovers a tragic family story, interwoven with the national tragedy of the right-wing dictatorship of the Estado Novo that had Portugal in its grip from to Just as Sarah Polley showed in in Stories We Tell, there are also misunderstandings and warped memories which shape the story of families. That means you have to be careful cursing those close to you and shutting doors.

Far from the inhabited world, in a renovated farmyard barn in Umbria, year-old theatre legend Luca Ronconi leads an experimental drama school. A group of young and ambitious Italian acting talents come together for three weeks in the summer to study several plays, free from deadlines and the obligation to really perform them. The young people eat, study and sleep together — apart from that, there is nothing else to do.

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Mobile phones barely have any signal, the only distraction is a jog. A few times a day, there are workshops by Ronconi, who freely shares his experiences as a theatre and opera director with his students. His spirit still radiates. While his parents slave away in an animal food factory in the Guro district of Seoul once the cradle of the Korean economic wonder , Shon Sun, a half-blood, starts his military service in the army.

There, Sun does not fare much better — he is raped in his sleep by a superior and finds out he has been infected with HIV. Desperate, he takes revenge and flees the army. In Seoul, it becomes apparent that his father has disappeared. Sun goes looking for him and finds him in his birthplace, on a polluted tropical beach. Roh received a different education from many of his compatriots: after working as a stockbroker, he studied experimental film at the San Francisco Art Institute.

His work, which has been seen at the festivals of Locarno, Busan, Berlin and Rotterdam, is also different.

For Black Stone, the last part of a trilogy about environmental pollution, his main sources of inspiration were Robert Bresson and Apichatpong Weerasethakul. A pitch-black and pessimistic social fairytale with a cathartic experimental ending. Stinking Heaven starts with a marriage ceremony.

It looks idyllic, but a little later it turns out that Kevin and his much younger bride Betty spend their wedding night in a small, grubby room full of bunk beds, watched by the other tenants. They live in a commune in New Jersey, founded by the idealistic married couple Jim and Lucy. All the inhabitants are former drug addicts and try to keep off drink and drugs using improvised game therapy. That turns out not to be very easy. Nathan Silver, born and bred in New York, situated his fifth independently produced feature in the early s.

The typical grainy video in format is a good match for the chaotic groups process that Silver tries to register.

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As always, he worked without a scenario and allowed his actors to improvise. The result is a jumpy, idiosyncratic and sensitive group portrait. This funny thing called love? Just who can solve its mystery? Why should it make a fool of me?


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The whole thing breathes the atmosphere of romantic Hollywood films from the s, but is equally influenced by the Cinema Marginal directors Bressane and Sganzerla. Young star actresses Leandra Leal and Mariana Ximenes worked in the film for free. Woo Ming Jin belongs to a generation of young Chinese-Malaysian filmmakers who acquired international fame with simple yet sensitive and beautifully made films.

The fairly complex story with various characters is set in different times and moves back and forth between present and past, about 30 years ago. One of the protagonists is Mr. Tan, the head of a small fishing village, the kind of village so familiar from Woo. Tan had for years a secret relationship with Mr Lai. In this way, the film tackles a homosexual theme, which is striking and risky in Malaysia. One day, Mr Lai has disappeared, together with the wife of Mr Tan. A quest starts in present and past.

The Second Life of Thieves is pure fiction, but the filmmaker took his inspiration from the hidden life of a relative. It explains the personal tone of the film. A gangster and pop comedy revolving around the famous singer Shibutani Subaru. Shibutani formed part of the popular band Kanjani Eight, a kind of boy band, but then with members who really can sing and make music. Director Yamashita Nobuhiro became known 10 years ago with another pop film, the catchy and successful Linda, Linda, Linda.

Shigeo, a petty criminal with amnesia, forms part of a band managed by the teenaged girl Kasumi. She looks after Shigeo and tries to reactivate his memory. Kasumi lives with her grandfather and takes Shigeo into their house.

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With live performance by Shibutani Subaru before and after the film on Thu 22 January. When she runs off with a young soldier, Dinessen endlessly roams the pampas of Patagonia on the trail of a very thin dog. The stunningly photographed Jauja is both incomparable and intriguing. Somewhere in the age-old landscape around the Yellow River, the camera records two children herding goats. We just catch their mother leaving the house and the way their elderly father, opium pipe in hand, screams impotently at them as he points out their duties.

With beautifully flowing movements, the camera stays with the little boy who like the rest of the cast has no professional experience as he goes looking for his mother in an epic, lonely, hellish journey through contemporary China. Evoking memories of the fate of young heroes from nineteenth-century novels, he is set to work in the city as a slave in a primitive brick factory.

Once he manages to escape, he joins a youth gang. Zhang combines this with deep sympathy for the desperate, poor Chinese; uprooted from their communities, facing pollution and other consequences of progress.


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With Brave Talk on Wed in the theatre. When filmmaker Eric Baudelaire sent his first letter to Maxim Gvinjia, friend and former Minister of Foreign Affairs of Abkhazia, he was sure it would come back undelivered. The letter did reach its destination, however, and formed the start of a lengthy correspondence: Baudelaire sent 74 letters and notes, while Maxim recorded his wide-ranging answers on tape.

The result is an extraordinary chronicle of a close friendship, interwoven with the unusual history and beautiful, everyday images of a stateless state, a country as real as it is imaginary, a space between different realities. When a doctor asks his age, the old man says he is He regularly gets lost in the past, roaming his memories. Ventura grew up in Cape Verde and left for Lisbon as a young man, where he embarked on a poverty-stricken existence as a bricklayer. Pedro Costa portrayed him previously in his film Colossal Youth Costa has a sharp eye for both the beauty and misery of the life of working migrants.

Horse Money, which won the prize for best director at the Locarno Film Festival, is striking for its beautiful camera work and stunning tableaux, in which Ventura roams as a ghost of his former, powerful self. A remote barrio in the Philippines seems far removed from the political turmoil under President Marcos, but here too, life in the early s slowly became disordered. Mysterious events throw their shadow into the future.