The world's hardest - and weirdest - heavy metal band Impaled Rektum is serving their sentence in Norway's nicest prison. They receive word that guitarist Lotvonen's parents' reindeer herding farm is about to come under the hammer. It will take a big gig and big money to save the farm. A breakout ensues and a trip to the world's biggest heavy festival, Wacken in northern Germany begins. The higher the target, the bigger the obstacles. This is what the boys will experience on their epic journey to the main stage of Wacken - every metalhead's heaven.
The story follows two homeless siblings who turn to the criminal world to survive. Their new life lives take a radical turn when the goods they are meant to transport turn out to be two young girls.
Is anything changing in life when in a film your characters death, mourning the loss of beloved one - parents, children is played? In Life After Death, this question is posed in different forms to three generations of actors.
After 30 years of exile in Paris, Jana travels back to Vilnius. She wants to see again the lake that Paulius, her first love, called “Walden”.
Dainius, a young rock singer, locks himself away in a secluded country house surrounded by swamps. Hoping to meet his beloved in dreamland, the musician is eagerly assisted in his studies by a local boy exploited by moonshiners.
It is highly probable that before their own death, everyone has to organise someone else’s funeral. This is by far not an easy task. In addition to the searing grief, dying also brings a number of tasks that are at once utterly alien and intensely time-critical. The main character of this film, Dovile, who unexpectedly has to bury her father, has to face the bedlam of exactly such a challenge. Overnight, the young girl has to become a skilful organiser of a family event, while also being a specialist on coffins, urns, wreaths and funeral feasts. Dovile’s journey towards organising a perfect funeral is inevitably full of hardship and mishaps, accompanied mainly by black humour and comical situations.
When Marija learns that her unstable boyfriend has disappeared, she takes to the streets in an attempt to find him.
With gentle irony, “Cinephilia” unmasks the illusion of film. Characters migrate through the worlds of reality and fantasy, in circumstances that paradoxically have no questions or answers. The two moons of Lars von Trier shine in the night sky, entrancing the main heroes, Roland and Isabel. Roland rents himself a room where he winds up in situations reminiscent of the plots found in Franz Kafka’s “The Trial” or Roman Polański’s “The Tenant”. A guy visits Roland, claiming that they known each other, and offers him a lot of money to film his suicide. There begins a kaleidoscopic sequence of events and random acquaintances. They make the characters wander through the worlds of reality and fantasy, sometimes both at the same time. A dark comedy that tells nine related stories in which the fates of the characters intertwine.
Max Dadjanis returns with a new identity, but with the same goal - to seize all the illegal businesses in Vilnius. The national security forces do not sit idly by: Varna, who is sitting in prison, is offered to join the game of gang wars.
A blue screen informs that war has begun. What will be needed? Collect the men, find guns, or maybe someone will give them. We need a location, a country where the war would take place. No problem, the Colonel is a real pro, he has caused wars to order, or on orders, on multiple occasions in different countries. Now his followers have grown up and caused a war in his country. He doesn’t want to, but he has to fight. He is old and tired of war. He wants to be at the table with a steaming pot of tasty mutton ribs and stare at an innocent TV screen with the news on, and the dressed-up news reporter announces that the war has begun.
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