In this tale of second chances, two ex-lovers run into each other in a restaurant. Both are with new partners. Both are unhappy. Both are still in love with the other. Dormant feelings rush to the surface and the opportunity to rekindle the past presents itself. Will the outcome be different?
In Sara's class, the popular kids, also known as the kings and queens, are subjected to daily humiliations, which include having their pants pulled down or water thrown on them, but this is only a sign of their elevated status. Sara is the only blond and blue-eyed girl in her class, and she is completely overlooked by the kings and queens who do not have blond hair and blue eyes. She has a secret crush on one of the kings, who is way out of her league, and she doesn't have any friends either, but would like to become friends with Karen, also an outsider who aspires to a better status. One day, Sara eyes an opportunity to boost her popularity by humiliating herself and thereby become queen. Karen instantly becomes her friend, she seems to catch the eye of her kingly crush and popularity appears within her reach. However, her happiness is short-lived, and in the end she learns a far more valuable lesson than how to be queen for a day.
A take it or leave it auteur-experimental fiction exercise: two women are monitoring their dreams, dreams that may of course also be stark naked reality, at least to the dreamers, as they come and they go like bubbles, rising, floating, bursting. A man appears out of nowhere. Poet Peter Laugesen co-wrote the script with Tom Elling, who was Lars von Trier's director of photography on "The Element of Crime".
A portrait of the American artist Ray Johnson (1927-1995), based on a personal interpretation of Johnson’s avant-garde strategies, using the telephone and the internet as primary sources for sound and image.
Frames 20th-Century ideologies and dreams of liberation, using found footage. The film presents an account of the period between 1932-1985, juxtaposing two different films in a montage format. One, 18mm home footage of an unknown Danish family, taken before and after WW2. A deadpan camera registers happy holiday moments, the Berlin Olympics (1936), and the World Exhibition in Paris (1937). Secondly, and with the same lack of involvement, we see the liberation of Denmark in May 1945. The second film is a first generation erotic movie, shot in 1972, showing a student's party developing into carnality, reflecting the liberating promises of this newly legalized pornography. The entire montage is accompanied by and interview with Charles Manson, who projects his messianic views from his prison cell. Through its anti-dramatic slide from normality to perversion, the film implicitly challenges the 20th-Century welfare state's promise of freedom to its citizens.
In this exquisite black and white short, a young woman discovers an angel on her fire escape, and as any good samaritan would do, she decides to take loving care of it.
A film documenting the life and death of Eik Skaløe as a poet and singer for the danish band Steppeulvene. A symbol for the Danish hippie-movement.
Tomic was born in Yugoslavia right after Tito’s death, but fled during the war to Denmark, and while he was digging up the roots of his childhood, he could watch the images of his Bosnian coun-trymen in concentration camps on TV. In ‘My Lost Generation’, Tomic tells his own as well as his generation’s story by examining what a war can do to a human being. It’s a frightening project, but it’s only through filming that he can overcome his traumas. Fear, violence, scars and distrust are unavoidable premises for the identity-less director, who with his training background from the Danish Royal Academy of Fine Arts manages to communicate his experiences in a visual, raw and poetic way.
Six hundred years ago in the desert, Abdullah thinks himself the happiest shoemaker in the world. He has a very special knowledge about women and shoes. But the story takes a surprising turn for both Abdullah and us. A humorous animation film for adults based on traditional Middle East story-telling. A mix of traditional animation and arabic calligraphy is here used to focus on a delicate subject.
