The astonishing debut feature from Greek filmmaker Ektoras Lygizos updates Knut Hamsun's classic 1890 novel Hunger to the modern day, as it follows an alienated young man desperately trying to survive on the streets of Athens.
This is not an easy mystery to solve in all its subtleties. In the last paragraph, I give my take on the characters. I won't give away the principal spoiler. Still, if you want to exercise your Sherlock skills to the fullest, skip that last paragraph. I'll warn you. A man leaves prison. He has been paroled. The best he can do at first is stay at a shelter for poor people and look for work. In the meantime he tries to reconnect with people he knows and to avoid the attention of several shady individuals that know him. That's the layout. The mystery elements arise from the fact that he is rejected by a few, pursued by a duo of suspicious looking men, and approached by a bunch of unsavory roughnecks that know him well. Why the rejection? Why the persecution? What is the gang about? The film is parsimonious about handing out hints and clues that we need to answer those questions. The best we can do is work out hypotheses and see if they pan out at the end.
In a country shaken by major political events, three generations of a Greek family clash over an inside-the-family adoption.
Olga, a domestic worker originally from Albania, finds herself in a house she works in downtown Athens, at the right time. Or at the wrong one?
When fourteen-year-old Myrto learns her father has fled to avoid paying his debts, she kidnaps the son of his business partner whom she blames for bankrupting her father's joiner's workshop. Memories resurface as she wanders through the aisles of the workshop, where she hides her victim between stacks of spruce, oak and ebony.
Everyone carries something, some burden that weighs him down. Some are crushed, others are freed, others just carry on. Eleven characters cross each others paths, unveiling their fears and desires, during the world weightlifting championship
Amnesty is a 2011 Albanian movie directed by Bujar Alimani. It’s a story about two people who meet up in jail when they come for monthly visits of their spouses. They fall in love after becoming witnesses to a wedding in jail but their relationship has to end because both their spouses get amnesty from the government. What happens next is shown in usual Southeast European movie style.
A woman is trying to forget her traumatic past by living a parallel, fictional life.
On their ordinary walk through the park the grandparents decide to play a game that their granddaughter invents.
In a city where the boundaries have changed greatly, where to go in Slovenia identification, where the barriers (real or metaphorical that they need not even show) have crumbled over the years, where the famous wall of mental hospital was demolished in the seventies thanks to Basaglia revolution, there is a wall that still stands. The wall that separates at the beach "At Lantern" women and men, but commonly called by all Trieste "Pedocin", unique in Europe, the noisy quiet corner, a stone's throw from the city center.
While attending a reintegration programme, Lena finds a job that gives her access to the rural jail for minors, where her son is serving his sentence. Last time she saw him, he was five years old.
