Kristian Levring
In 1870s America, a peaceful American settler kills his family's murderer which unleashes the fury of a notorious gang leader. His cowardly fellow townspeople then betray him, forcing him to hunt down the outlaws alone.
Michael needs a change in his life, so when he hears about clinical trials for a new anti-depressant, he signs up to be a guinea pig - without telling his family. Because of dangerous side effects, the trial is subsequently abandoned but Michael continues to take the pills. Having lost all control, Michael's repressed instincts resurface with a force and violence that no-one could have predicted.
Sanna has broken up with her boyfriend Jon. Because her father is in the hospital, she moved into her father's apartment. In his dresser drawer, she finds clipped obituaries of his colleagues, who all seem to have died prematurely. Sanna crosses one border after another, approaching a total collapse of her obsession with truth. In the end, she takes the law into her own hands.
The filmmakers who created the Dogme Manifesto reflect, argue, and watch clips of their own films.
A period drama/thriller about a surveyor and his fiancée who arrive in a remote Malaysian trading post and encounter a closed-fisted ivory trader and her ill-meaning family.
The Name of this Film is Dogme95 is an irreverent documentary exploring the origins of Dogme95, the most influential movement in world cinema for a generation. The film tells how a 'brotherhood' of four Danish directors armed with a radical Manifesto, has inspired, outraged and provoked filmmakers and filmgoers the world over. The rules of Dogme95 take filmmaking back to its brass-tacks - stories must be set in the here and now; the films must be shot on location, with a handheld camera, using natural light, and direct sound; the rules forbid murders and weapons (staples of the much-loved action-movie genre); and, most amusingly, the director must not be credited (that holds also for the director of The Name of this Film is Dogme95...).
Stranded in the heat of a barren African desert, eleven bus-passengers shelter in the remnants of an abandoned town. As rescue grows more remote by the day and anxiety deepens, an idea emerges: why not stage a play. However the choice of King Lear only manages to plunge this disparate group of travelers into turmoil as they struggle to overcome both nature's wrath and their own morality.
As a visual narrative it is reminiscent of a pile of postcards from a journey, which indeed is what the film is. It consists of a series of lengthy shots of a tableau nature, each appearing to be a more or less random cross section of American reality, but which in total invoke a highly emblematic picture of the USA.
