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1-7 of 7
- A musician from Amsterdam returns to Moldavanka - the former Jewish neighborhood of Odessa - his place of birth and the cradle of old-time Russian Mafia songs.
- Juan de Dios (55) is a Guarani poet and craftsman. The harshness and deprivations of life in the countryside, endured throughout the years, have hardened his smile and stiffened the look in his eyes. Alongside the road, the symphony of nature vanishes and paradise seems to exist no more. However, within a few men, tenderness and desire do not vanish, wishes and dreams are well alive and keep beating in the depth of their souls. Novena lets us witness in a documentary, fiction and pictorial style how those few men, genuinely incarnated in Juan, push their dreams forward. Juans mother dies and this event offers him the last chance to travel to Buenos Aires and reunite with his sister, and perhaps, to start a smoothed, brand new life. Nine days of prayers and rosaries for the departed mother seem to catalyze years of waiting and disenchantment. There is only one thing to achieve before the Novena is ended: for once in his life to think of himself.
- An elderly single woman who realizes she is terminally ill, packs some clothes in a suitcase, puts her fish in a plastic bag and leaves on foot. During her lonely journey she has some brief but intense encounters. She ends her Way of Sorrows in a monastery where she lies down and refuses all food and drink.
- A choreography of tender observations of a weekly dance matinée.
- Tea Tupajic was seven years old when the civil war in the former Yugoslavia reached her hometown Sarajevo. The scars the war left play a major role in her work as an artist. Tupajic asked Dutchbat veterans Frank and Harm to spend an entire night in conversation with her. The empty theater gradually darkens. Tupajic wants answers to some painful questions, but she also tries to discover something in the two men that can give her hope. A woman, a man and a camera: through this simple set-up Darkness There and Nothing More concentrates all attention to the words, gestures, and acts in these two meetings, which are often captured in tight camera frames. They show a dialog between two worlds that simply won't combine, despite a shared longing for some kind of deliverance. Harm carries a huge sense of guilt, while Frank is entirely locked off from his emotions. Tupajic tries to explain that none of her family and friends, despite being alive, really survived the war. Are they ever going to understand each other's grief?