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In Aki Kaurismäki's 2016 film Toivon tuolla puelella ("The Other Side of Hope"), the Finnish auteur continues a theme he explored in Le Havre from five years earlier: refugees fleeing to Europe and forced to survive when heartless officials and some locals are against them. While that earlier film was shot in the comparatively exotic setting of the eponymous French port, Toivon tuolla puelella returns to Kaurismäki's familiar stomping grounds of downtown Helsinki. The film consists of two converging plotlines. In one, the aging salesman Wikström (Sakari Kuosmanen, a longtime member of Kaurismäki's acting stable) leaves his wife, wins a lot of money in a poker game, and decides to open a restaurant. In the other, the Syrian refugee Khaled (Sherwan Haji) arrives in Helsinki after fleeing war-torn Aleppo and wandering across half of Europe, but he is worried about his sister that he got separated with along the way. Wikström and Khaled eventually meet and become friends -- or the closest thing to friends that Kaurismäki's exaggeratedly cold and morose Finns can get to each other. Before that, however, the Wikström plotline serves to inject some humour, albeit of an extremely deadpan sort, into a film that, though Khaled, explores the depressing lives of refugees who are shuffled from one center to another and forced to wait for their cases to be processed. For three decades now, Kaurismäki has made all his films to a very distinctive template that virtually never varies. Its characters speak a minimum of dialogue to each other and show little expression on their faces. The sets are drab in colour and deliberately anachronistic, with gadgets, vehicles or clothes from the 1950s alongside computers and mobile phones from our time. At some point, a band will appear on stage playing oldies rock, blues, or Finnish tangos as the characters look on. Toivon tuolla puelella doesn't stray from that template either. Still, the script has enough fresh moments to it that it will feel worthwhile evento longtime Kaurismäki films who have sat through this template many times before. Some of the humorous bits are laugh-out-loud funny, but overall this does feel like a darker film than most of the director's work. It is ultimately a choked, restrained cry of rage at the way that refugees are treated, by a Nordic society that prides itself on fairness, equality and charity. While Kaurismäki is roughly on the left politically, several of his films have attacked the Finnish welfare state for its opaque bureaucracy and its reduction of human beings to mere papers in a government file. This film continues that critique by depicting the refugees, who come from many countries but manage to band together to lend each other help, as the sort of neighborly solidarity that Kaurismäki prefers to faceless bureaucracy. I personally wouldn't find this the best introduction to Kaurismäki. His earlier film Mies vailla menneisyttä ("The Man Without a Past") depicted with more meat on its bone a down-on-his-luck man lost among bureaucracy, while the über-idiosyncratic romantic comedy Varoja paratiisissa ("Shadows in Paradise") is one of Kaurismäki's best achievements in deadpan humour. Still, Toivon tuolla puelella seems to tell a story universal enough to pull on everyone's heartstrings and is worth seeing.
Europe "welcomes" war refugees. Gallery of portraits in Tati-style sets, and a call to order, always in progress. Uplifting.
An Eastern European tourist unexpectedly finds himself stranded in JFK airport, and must take up temporary residence there.
After a police chase with an otherworldly being, a New York City cop is recruited as an agent in a top-secret organization established to monitor and police alien activity on Earth: the Men in Black. Agent K and new recruit Agent J find themselves in the middle of a deadly plot by an intergalactic terrorist who has arrived on Earth to assassinate two ambassadors from opposing galaxies.
Kay and Jay reunite to provide our best, last and only line of defense against a sinister seductress who levels the toughest challenge yet to the MIB's untarnished mission statement – protecting Earth from the scum of the universe. It's been four years since the alien-seeking agents averted an intergalactic disaster of epic proportions. Now it's a race against the clock as Jay must convince Kay – who not only has absolutely no memory of his time spent with the MIB, but is also the only living person left with the expertise to save the galaxy – to reunite with the MIB before the earth submits to ultimate destruction.
Tragedy strikes a married couple vacationing in the Moroccan desert, which jumpstarts an interlocking story involving four different families.
Angie is a working class woman. After being fired, she decides to set up a recruitment agency of her own, running it from her kitchen with her friend, Rose. Taking advantage of the desperation of immigrants, Angie builds a successful business extremely quickly.
When brash Texas border officer Mike Norton wrongfully kills and buries the friend and ranch hand of Pete Perkins, the latter is reminded of a promise he made to bury his friend, Melquiades Estrada, in his Mexican home town. He kidnaps Norton and exhumes Estrada's corpse, and the odd caravan sets out on horseback for Mexico.
A French woman falls in love with a Yugoslavian man, not realizing that he is an illegal immigrant.
In the town of Saima, when summer is about to begin, a group of six high school students intend to live a secret adventure by spending seven carefree days in a ruined mining facility.
A pub landlord in a previously thriving mining community struggles to hold onto his pub. Meanwhile, tensions rise in the town when Syrian refugees are placed in the empty houses in the community.
After her husband deserts her, working-class mother Ray Eddy is in great need of money to find a home. Lured by the possibility of easy cash, she joins Lila, a widowed Mohawk who earns a living by smuggling immigrants from Canada to the U.S. across the St. Lawrence.
"Dance or Die" is a moving documentary about a young Syrian dancer who escapes the war and finds a new life in Holland. But the ghosts of the past won't let him go. With the war and the advance of the Islamic State in Syria, the young classical dancer Ahmad Joudeh lost everything – part of his family, his home, but also the right to practice his art. However, he will use dance as a weapon against Daesh. Three words adorn the neck of Ahmad Joudeh: Dance or Die. The tattoo is a declaration of war against IS if it takes him over. (Text: arte)