Writing
The life and death of socialist architectural monsters. An epic fairy-tale in five chapters.
Audrius Mickevičius puts the horribly disfigured face of his murdered brother at the start of his film. It is almost a meditation about the question whether a final act like murder can be atoned for in a temporal order – and whether the passing of time allows the victim’s family to forgive. Mickevičius uses the example of two lifers (one of them gets married and wants to have children, the other pours his whole passion into an idea of craftsmanship) and a philosopher with prison experience to make that strange state of suspended life comprehensible.
No description available.
Set entirely in the rural frontier area between Greece and Bulgaria, it is an austere story of a Greek man who wants to buy a baby across the border.
A cinematic, character-driven insight to what it meant to produce and to own a car in communist times: the Socialist propaganda dreams and the hard reality of living that dream. The freedom that these slow and clumsy vehicles were giving to their owners; the cars as an instrument in the Cold War battle; legends and homemade tune-ups as an attempt to stand at least a little bit off the crowd.
He is a medical photographer, a water polo competitor, a romantic, a favorite of women. Overnight, he becomes a prisoner with his legs shot, an enemy of the regime, a victim of political police. This nightmare remained in the 1980's before the Berlin Wall's collapse. Now for Simon Varsano everything will re-erupt, along with a video from the Communist State Security archives. A meeting with the past and a clash again: Simon versus Fear. The clash of one person, photographer Simon Varsano, with the communist State Security system, told in a very personal way by director Georgi Tenev.
