Rie visits a tunnel-boring machine being used to construct the Copenhagen Metro. When an accident occurs, she must survive the claustrophobic conditions of an airlock with Ivo and Bharan whilst reconsidering their lives.
When the brilliant but sexually inexperienced computer science student PIET is turned down by bright and beautiful KLARA, he is deeply hurt. He takes a dose of a sleep medication, leading ... See full summary »
Director:
Linus de Paoli
Stars:
Adam Ild Rohweder,
Paulina Galazka,
Pit Bukowski
As a means to distract herself from an affair, a love-addicted woman befriends a cleaning lady, badly scarred by burns. She soon learns, these scars run much deeper than the surface.
A group of teenagers unknowingly summon a paranormal presence during their weekend trip to the Joshua Tree desert. This monster mimics their appearances to hide among them and seeks to ... See full summary »
Suzanne wasn't always this confused. She wasn't always dead either - When an ex-con takes a job as a handyman for an unstable elderly woman to avoid a parole violation, it becomes a choice ... See full summary »
Based on the absurd but true 1973 bank heist and hostage crisis in Stockholm that was documented in the New Yorker as the origins of the 'Stockholm Syndrome'.
Luz, a young cabdriver, drags herself into the brightly lit entrance of a run-down police station. A demonic entity follows her, determined to finally be close to the woman it loves.
Director:
Tilman Singer
Stars:
Luana Velis,
Johannes Benecke,
Jan Bluthardt
Rie visits a tunnel-boring machine being used to construct the Copenhagen Metro. When an accident occurs, she must survive the claustrophobic conditions of an airlock with Ivo and Bharan whilst reconsidering their lives.
In the opening scene of Cutterhead, as protagonist Rie rides a construction site elevator deep into the Danish underground, we glimpse the elevator's control panel and its "up" and "down" buttons that some joker has labeled "Heaven" and "Hell" in felt pen, setting the stage for the claustrophobic horror that's to come.
As a copywriter for the Copenhagen metro, she's there to write the kind of breezy PR texts that might excitedly describe the metro as "the largest construction project in the Danish capital in 400 years", and frame having workers of 24 different nationalities as a "great European coming together" (rather than the result of working conditions and pay that no Danish construction worker would accept). Her interviewees aren't playing along, though. "What's the best part of your job?" she asks every worker she approaches, but most give polite non-answers (clearly trying to avoid trouble), if they even speak English. Only Ivo, who's from Croatia and maintains the cutterhead, doesn't hesitate. "The money," he answers, dispelling any romantic notions of a labor of love.
These workers are all here, working a bad job with bad pay and bad working conditions, because they need the money. But why is Rie here? The question lingers throughout the movie. When one character questions if she's even allowed, Ivo explains "She's from the office". In other words, she's Danish. "I have permission to go anywhere", Rie helpfully adds.
Ivo and his colleague Bharan work the cutterhead because it's more dangerous, and hence pays more. Even then, Rie undoubtedly earns more than either of them. The disaster that soon engulfs these three people should erase these differences, but the sense of disparity persists, and it's in these clashes between worlds that Cutterhead becomes more than a disaster movie with a novel setting, and shows real bite with its social critique.
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In the opening scene of Cutterhead, as protagonist Rie rides a construction site elevator deep into the Danish underground, we glimpse the elevator's control panel and its "up" and "down" buttons that some joker has labeled "Heaven" and "Hell" in felt pen, setting the stage for the claustrophobic horror that's to come.
As a copywriter for the Copenhagen metro, she's there to write the kind of breezy PR texts that might excitedly describe the metro as "the largest construction project in the Danish capital in 400 years", and frame having workers of 24 different nationalities as a "great European coming together" (rather than the result of working conditions and pay that no Danish construction worker would accept). Her interviewees aren't playing along, though. "What's the best part of your job?" she asks every worker she approaches, but most give polite non-answers (clearly trying to avoid trouble), if they even speak English. Only Ivo, who's from Croatia and maintains the cutterhead, doesn't hesitate. "The money," he answers, dispelling any romantic notions of a labor of love.
These workers are all here, working a bad job with bad pay and bad working conditions, because they need the money. But why is Rie here? The question lingers throughout the movie. When one character questions if she's even allowed, Ivo explains "She's from the office". In other words, she's Danish. "I have permission to go anywhere", Rie helpfully adds.
Ivo and his colleague Bharan work the cutterhead because it's more dangerous, and hence pays more. Even then, Rie undoubtedly earns more than either of them. The disaster that soon engulfs these three people should erase these differences, but the sense of disparity persists, and it's in these clashes between worlds that Cutterhead becomes more than a disaster movie with a novel setting, and shows real bite with its social critique.