After the tsunami struck the coast town of Takua Pa, young architect Ton moves in town to develop a construction project and settles in a small hotel run by Na, a young sensitive local girl... See full summary »
In the wake of Israel's 2006 bombardment of Lebanon, a determined woman finds her way into the country convincing a taxi cab driver to take a risky journey around the scarred region in search of her sister and her son.
Nada Abou Farhat,
Seiji Iwahashi is released early from a 10-year prison sentence for killing the boss of a rival. He returns to find the two rival gangs finalizing a merger. When a pattern of corruption is ... See full summary »
A film comprised of three interconnected vignettes that depict women at three stages of life in Iran. The first part centers on a young girl on her ninth birthday who is told that she can ... See full summary »
A room gets put up for rent following the mysterious murder of its previous tenant. When an apartment-hunting man sees the deal the brother and sister landlords are offering, he immediately... See full summary »
Norman Thaddeus Vane
Mentally ill young woman Valda convinces herself that a boy growing up in an orphanage is her child. Following the footsteps of a thousands Lithuanians, she immigrates to Ireland to earn money to save him. "Loss" portrays beauty and tragedy in the human heart.
10 to 11 is the story of a passionate collector Mithat and the concierge of the building, Ali. For Mithat Istanbul is as vast as his collections and for Ali is nothing more than a few ... See full summary »
A criminal drama told in a semi-documentary fashion. The murder of the chief official of Kobe city's Customs triggers an investigation of a prostitution ring called the 'Yellow Line' that sells Japanese women.
You have to see two faces of this movie: first: its extraordinary pictorial sadness and consequence, which is fully reached by the camera, the direction and the excellent cast. (Hilmar Thate and Cornelia Schmaus, above all, show an intensity of face-acting that has become seldom in contemporary cinema.) This face, indeed, seems to be lifted by archaic 1920s-cinema, and it's a miracle that it could resurrect. But we have a second, very problematic face, too. The movie pretends to tell the story of people who are victims of the "capitalization" of former GDR, more generally: people who are considered the invisible "margin" of society. Making them visible, forms a great part of this movie's ethics, and signifies undoubtedly a merit. But here, the script fails. So many unbelievable details. Why hasn't Sylvia left this guy much earlier and why (that's even more crucial) does she seem to be so heavily surprised by his way of acting? (She should have known FOR YEARS that he is, p. e., not able to TALK about important things.) Why are Gina and her brother FASCINATED by Walter? We see a broken, very sick and psychopathic guy, but we don't see a "fascinosum". Maybe there is a failure in Thate's acting, but more important is the fact that a past as a factory's director doesn't explain fully WHY he tends to VIOLENCE. (Despair, by itself, does not necessarily produce violence!) And, after all, we don't have a portrait of the world Walter is opposed to; Berlin appears as an impressive stage-background, not more. We don't really see the details (apart from the metro things) that incite his fury. Here it is where the REALISTIC pretention of "Wege in die Nacht" is going to fail. Besides of this, it is an EXTRAORDINARY film, worth to be seen, in any case.
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