Isa has more than enough on her plate with two children and the household, which she manages on her own. When her husband persists with his wish for a third child, she realizes that something must change.
Alessandro and Pietro, both aged 16, film themselves with a cell phone to tell the story of their friendship, the tragedy of Davide, and their everyday lives if the difficult Traiano district of Naples.
Four older Sudanese filmmakers with passion for film battle to bring cinema-going back to Sudan, not without resistance. Their 'Sudanese Film Club' have decided to revive an old cinema, and again draw attention to Sudanese film history.
Manar Al Hilo,
It's the 80s rail service system, and the train is the only means of transport from the outskirts. A couple - BOI (Adjetey Anang) and ATSWEI (Lydia Forson) is bent on delivering their first... See full summary »
Fred Nii Amugi,
Summer 1998, Kabul in ruins is occupied by the Taliban. In love despite the daily violence and misery, Mohsen and Zunaira want to believe in the future. But a senseless act by Mohsen will upset their lives forever.
OLANDA tells the story of mushroom pickers who, in the summer and autumn months head, to the southern Carpathians of Romania to begin their search. The film takes a look at the coexistence ... See full summary »
Four queer and trans youth in New York City struggle to maintain their proto-utopian community against the outside world as their lives curiously merge with the 1980s German novel So Schön by Ronald M. Schernikau.
Jessie Jeffrey Dunn Rovinelli
Jozaburo Araki is the head of a famous family-owned wholesale pharmaceutical store with a well-established history. At present he is the Minister of Health and Welfare, and is considering ... See full summary »
A 14-year-old Cambodian boy leaves home in search of a better life but is sold to a Thai broker and enslaved on a fishing trawler. As fellow slaves are tortured and murdered around him, he realises his only hope of freedom is to become as violent as his captors.
The cruel business of Asian forced-labour fishing is no joke, but if you want to make a movie of it, it still has to work as a movie.
Rathjen largely succeeds, aided by fine camera work, and cinematic interludes that break up what would otherwise be an unbearably grim tale. The interludes might be a high-altitude shot of the death boat, a thoughtful moment of beauty, or a flashback to the young conscript's home village.
The ending strikes an apt note, neither too sad nor too sentimental. It's hard to imagine this one will do huge box office, so let's hope that Rathjen comes back for another round. Talented Australian directors are rare, and rarer still do they kick on for longer careers.
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