Category: Cinema

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One hundred years back saw the light the very first Finnish produced
movie: Salaviinanpolttajat (Bootleggers) by Louis Sparre and Teuvo
Puro. Little is known about this film because not even still pictures
are preserved and its plot is only known on the basis of newspapers
advertisements. It dealt with themes that remain dear to the country:
alcohol, the sense of guilt surrounding it and the pain of human
alienation.


The oldest Finnish movie completely preserved, Ollin oppivuodet (Olli's
Apprenticeship), also directed by Teuvo Puro, is from 1920. At that
time Finland saw the rise of its first movie stars. Some of them
migrated to Hollywood, like Taina Elg or Maila Nurmi, who was the star
of Ed Wood’s Plan 9 from Outer Space and became popular as the tv
character of Vampira in the 1950s. Locally, the legendary Suomi-Filmi
replicated the studio system of Hollywood.

But the international breakthrough of Finnish cinema didn’t come until
the 1980s, when a generation of filmmakers led by Aki and Mika, the
Kaurismäki brothers, achieved international success. Famous Renny
Harlin also belongs to this generation. He took a different path and
became a Hollywood director with outstanding films like The Adventures
of Ford Farlaine or participating in the sequels of Die Hard, An Elm
Street Nightmare.

But new directors, producers and writers have blossomed since. In the
2000s, Finnish films present new themes to new audiences. Finnish
cinema enjoys a noticeable popularity locally, but the industry still
suffers from a limited target group and wants a better subsidy system.

During the first weekend of October, three Finnish films had over 49%
of the Top Ten films’ audience. The chart’s number one was JP Siili’s
film Ganes. This is the story of rise of the Hurriganes, the popular
rock’n’roll band in the 70’s and the first Finnish group to achieve
international recognition. Produced by Aleksi Bardy’s Helsinki-Filmi,
Ganes is a true Finnish blockbuster, supported by a big scale marketing
campaign; within two weeks of its premiere the film counted more than
75,000 admissions – not a bad number for a small country like Finland.
In 2006, the most watched movie was a Finnish production – Matti, the
life story of the living sport legend Matti Nykänen – movie saw by over
460,000 spectators. The second and third places were the American
Pirates of the Caribbean: Dead Man’s Chest (458,833 spectators) and
Casino Royale (368,621 spectators).

In the recent years, the market share of Finnish movies has increased
from a 17% in 2004 to a 24% last year, when three domestic films
appeared in the Top Ten. Ironically, the most internationally reputed
Finnish director, Aki Kaurismäki, although a Cannes Festival winner,
performs very poorly at the local box office. To his latest film,
Laitakaupungin valot (Lights in the Dusk) only 38,000 spectators in
Finland considered worthy to go, just few more than the extreme stunts
film The Dudesons Movie.

A new generation of directors and writers are bringing in new themes to
the domestic productions. Joona Tena achieved great success with the
romantic comedy FC Venus (2005), Aleksi Salmenperä brought to the
screen the taboo of male prostitution in Miehen työ (A Man’s Job,
2006). Since his controversial and popular debut film Levottomat
(Restless, 2000), Aku Louhimies offered a new look at the actual
Finnish society, especially through his acclaimed movie Paha Maa
(Frozen Land). A modern look that reflects a contemporary society that
goes beyond the traditional values, but still drags long standing
problems like booze and solitude.

{mosimage}Sure values and the producer’s nose

A sure value at the box office are movies dealing with the Finnish
national identity or Finnish heroes – among the latest local hits are
the biographies of Jean Sibelius (Sibelius, 2003), ski jumper and
celebrity Matti Nykänen (Matti, 2006) and the story of one of the best
known gangs, the Dalton brothers of Finland, in Aleksi Mäkelä’s Pahat
pojat (Bad Boys, 2003). The next Finnish heroes to reach the silver
screen will be Lordi. Dark Floors – The Lordi Motion Picture is to come
out in February 2008. The movie is not the story of the band, but an
American-style thriller based on the idea of the Lordi singer, and
where the band play the music and appear in the movie.

The man behind the last four years hits is the producer Markus Selin:
the Levottomat trilogy, Matti, Valkoinen kaupunki (Frozen City, 2006)
or this year’s V2 – Jäätynyt enkeli (V2 – Dead Angel). He also produced
one of the first films of Renny Harlin, Jäätävä polte (Born America,
1985), which was at the time the most expensive Finnish film ever done
with a budget of 16,7 million Finnish mark (around 2,8 million euro).

So what does it take to make a Finnish hit? To know your audience,
answers Markus Selin: “You have to keep the public in mind when you
choose the topic, especially in the script development phase”, he says.
“There are, of course, no short cuts to make a blockbuster, but I
believe that audiences always smell good movies, the ones made with the
right mix of talent and best possible ingredients”.

But Helsinki is not Hollywood and apart of the few blockbusters, there
are a number of productions struggling to attract an audience. The
situation is not easy in a country where only 12 movies are produced a
year and compete with more than 100 new releases from United States.
Budgets are not very high and the market is small due to the language.
“That is our biggest difficulty”, tells Selin. “The language limits the
financing possibilities from other countries. The Finnish Film
Foundation lacks decent funds, as the movie industry is not respected
enough. If it would be treated right by politicians, our industry could
be a big export”. With around 3,000 people employed, Finnish cinema
industry depends greatly on state support.

The Finnish Film Fundation, Suomen Elokuvasäätiö (SEA), is responsible
of the support and development of Finnish film production, distribution
and exhibition. It is an independent foundation which is supervised by
the Department for Cultural Policy in the Ministry of Education. The
SEA funds 10 to 12 movies per year. The resources for these grants
usually come from the lottery funds. According to the SEA, the average
budget of a Finnish film is 1,4 million euro, which includes around
500.000 euro from the SEA.

{mosimage}Producers go on strike

But for producers this support is not enough. In September, Finnish
producers decided to go on strike and not to start any new projects
after the Minister of Culture Stefan Wallin broke his promise to
increase funding by 1,2 million euro for the next year. In the 2008
budget, instead of the promised 8%, the increase is plain zero.
Producers argue that this is a stupid position because “the money used
to make one film returns to the state, in the form of taxes from sold
tickets and salaries, sometimes even as much as double of the invested
amount.”

They are also angry because while film subvention got a 0% increase,
the support for the National Opera raised with 1 million euro. The
Opera receives from the state budget 50 million, while the film
industry receives 13,5 million euro. Film producers declared themselves
“annoyed by the fact that the state supports 20 times more an opera
ticket than a cinema ticket”. Comparing tickets sales and state
support, for every opera ticket sold there is a support granted of 160e.

Producer and writer Aleksi Bardy sums up the present disappointment:
“In spite of the fact that the Finnish Film industry has been blooming
for the past eight years with better movies, new audiences and larger
exportations, politicians haven’t kept their promises. We producers
consider that it has become impossible to make films in Finland.” Of
course, he and the rest of the producers are aware that this attitude
can breed a bad image of the Finnish cinema among the public. “It is a
matter of survival. We risk to damage our image, but the other option
is that the Finnish film industry dies without enough resources”, Bardy
concludes.

The statement released by Finnish producers has been well received by
the rest of the industry. The SEA does not have an official opinion,
but recognizes “the need to increase public funding for film to the
level existent in other Nordic countries.” For the Ministry of
Education and Culture it is “a strong statement and it is evaluated as
such”. From the Ministry it is also claimed that “since 2000 the
increase has been 63%”, although it also admits that “the subsidies for
film production in Finland are smaller than for example in other Nordic
countries”.

The Finnish Chamber of Films, which represents The Finnish Film
Distributors’ Association and The Finnish Cinema Exhibitors’
Association, has also showed its support to the producers. Tero
Koistinen, executive director of The Finnish Cinema Exhibitors’
Association complains that “In Finland, there are about 200 cinemas,
most of which located in small towns and rural centres. Their survival
is largely dependent on Finnish movies. Due to the weak funding of the
Finnish film industry, some 50 small towns and communities are
constantly on the verge of losing their cinemas”.

Since the beginning of this conflict, Minister Stefan Wallin has
expressed his willingness to find an increase in subsidies for the film
industry. From the Ministry of Education and Culture, senior advisor
Leena Laaksonen explains that “an indication of the strong will is the
present (2007-2011) Government Programme that explicitly mentions the
will for increasing the subsidies for film production during the four
years of this Government. The Minister for Culture has clearly told
that his intention is to carry out what is said in the Government
Programme. The bill for 2008 budget is for the moment being dealt with
by the Parliament. It will be ready for Christmas”.

The strike has been effective. Already in early November, a solution
seems near. Producers have ended the strike based on the confidence
that a better allocation of the lottery funds will occur in 2008. This
means that that film production and distribution should get an increase
of 4,149,000 euro in 2008, and that the government should commit itself
to a plan to increase the overall film support to 27 million euro by
2011, as stated in the government programme. The managing director of
the SEA, Irina Krohn, has already promised that the maximum funding to
a film will increase from 700,000 euro to 840,000.

Markus Selin draws also other positives consequences from this
conflict: “The producers strike is good for the Finnish film industry
because it has raised a lot of questions regarding the bad shape of
film financing. It has also put all the major producers on the same
line and has brought the industry closer”.

For many foreigners living in Finland, Finnish cinema is greatly
unknown. However, although the cinemas don’t show the films with
subtitles in English or other language, nowadays DVD and festivals do.
A good starting point is a little museum in Helsinki, almost hidden in
Sörnäinen area, that preserves the history of Finnish cinema (Elävän
kuvan museo), full of posters, photos, old projectors, cameras and
films… A joy for movie lovers. Unfortunately, it is under
reconstruction until next September. Meanwhile… lights, camera, action!

{mosimage}Stan Lee (who makes a cameo again in this third part) and Steve Ditko created in 1962 a new superhero that after the past of decades has been even able to steal the love of many fans from other untouchable legendary characters like Batman or Superman. The name was Spider-man, and Sam Raimi took the responsibility to take his adventures into big screen.

{sidebar id=40}They usually say that third parts were never good, but Spider-Man 3 is a clear exception to the rule. Not only the best film of the trilogy, but in my opinion, the best comic adaptation from the last years. Raimi has caught all the spirit of the comic, the charming of a Peter Parker that can be very strong after his fragile appearance. But obviously one of the features that make Spider-Man 3 stand out is the new and visually shocking enemies: the raw power of Sandman (Thomas Haden Church) and overall the most awaited and probably beloved evil guy of the whole Marvel comics sagas: Venom. Tobey Maguire shows once more that he is perfect for the role; when Peter Parker behaves good, people like him, but when he is bad you just have to love him. Kirsten Dunst as the red-haired Mary Jane exhales sensuality every time she talks or sings, and the new incorporation of Topher Grace adds a new fresh value to a film full of dualities, from Spider-Man himself and all the characters surrounding him, where not everything is just black and white and there is not absolutely evil or innocent behaviour; a great example to take with us for the real everyday life.

If you have the chance, pursue the Special Edition with a very interesting 2-disc format, a great design on the cover and some good extras, being specially interesting the one that explains the creation proccess of the character of Venom. If you like comics, cinema and action that will make you be literally stitched to your seat for a bit more than 2 hours, do not miss Spider-Man 3. 

Participate in our competition and get the official Spider-Man 3 trolley bag. Click here! 

{mosimage}Five years ago, Joe Strummer, the leader of The Clash, died unexpectedly aged 50, victim of an undiagnosed congenital heart disease. He descended to the hell of punk after the break-up of The Clash, but a few years before his death, Strummer had revamped his musical career embracing global sounds with his backing band The Mescaleros. The recently released documentary Joe Strummer: The Future is Unwritten accounts this fascinating journey.

In a bit less than two hours, the documentary narrates Strummer’s traveling childhood (after his father, a British foreign-service, was located in places such as Cairo, Mexico City and Bonn), his teenage years (marked by the suicide of his brother), his stardom with The Clash, the turbulent post-Clash years and his comeback to music with The Mescaleros. Starting with impressive footage of the singer laying the vocals of the classic White Riot, director (and old friend) Julien Temple portraits the life of Joe Strummer through archival footage and personal interviews. Temple planned those interviews around a campfire (one of Strummer’s favorites activities). Former Clash members (like Mick Jones and Topper Headon), close friends and celebrities such as Johnny Depp, John Cusack, Steve Buscemi and Bono share memories and celebrate the life of Joe Strummer.

The editing is innovative and makes the storytelling quick. All the material comes together thanks to the voice of Joe Strummer himself that appears to underline the facts or just to set the mood of the journey spinning some records and introducing songs on the BBC World Service’s radio show London Calling.
Obviously much is told about The Clash. The story of the band becomes the centerpiece of the film: the origins, the success, the fame, the break up. Those were years of youth for Strummer. Wild and outspoken, but at the same time avoiding confrontation while his band mates were fired in the latter days of the group.

{sidebar id=39}In 1986, after the failure of the album Cut the Crap, the singer disbanded The Clash. There Strummer started long rambling years of different projects of mild success, soundtracks, a tour with The Pogues, legal disputes with Sony Records and even appearances in several films, including Aki Kaurismäki’s I Hired a Contract Killer (1990) and Jim Jarmusch’s Mystery Train (1989).

Those were difficult years for Strummer, but they are also the time when one would have wanted Temple to spend more footage of his documentary. It’s the “lost decade”. The images of Joe, alone in the studio, trying to find the right vocals and trying to find himself are some of the most valuable in the two-hour film.

But like happy end of a movie, Joe Strummer found content and peace of mind. He did it in an expected manner, in campfires around hippies. The punk made peace with his enemies. New sounds, a world folk, seemed to revitalize the singer, who put together a new band of young and talented multi-instrumentalist. The Mescaleros recorded three albums in three years and took successfully Strummer back to the road.

Even a reunion of The Clash seemed possible when Mick Jones joined Strummer on stage and the Mescaleros played a benefit concert for striking fire fighters. It was the first time both played together since 1983.

However that was also the last time. Just one month later, three days before Christmas Joe Strummer passed away. The world lost its hippiest punk.

The Future is Unwritten is a moving testimony of genuine rocker that remained true to himself, true to the idea that music has the power to change the world. It’s just too bad the film is only two hours long.

{mosimage}For the last couple of weeks I have
been hooked with the autobiography of the American writer and filmmaker
Samuel Fuller. It reads like a novel. A Third Face: My Tale of Writing, Fighting and Filmmaking
was written just a couple of years before his death in 1997 and is an
exciting tale of a very exciting life – or it would be better to say of
four or five different lives in one.

Samuel
Fuller, born in 1912, is better known by his movies, but before going
behind the camera he was a screenwriter, a pulp novel author, a
volunteer in the 1st Infantry Division during World War II, a teenage
crime reporter and a copyboy for Hearst’s New York Journal American. Yes, in his eighties, by the time he started writing his autobiography, he had some good stories to tell.

The
first chapters are dedicated to Fuller’s devotion to journalism in the
1920s and 1930s. He was just a kid when he began working as a paperboy
and a copyboy, running up and down the legendary Park Row of New York,
delivering messages to Mr. Hearst’s kitchen. The author was in love
with newspapers and writing. It was the golden age of journalism and
the reader can easily recall the smell of the ink and the linotype
machine. Many years later in 1952, Fuller recreated and paid tribute to
the era in his movie Park Row, one of his most popular films.

In
his teenage years, Fuller dreamt of becoming a reporter and so he did
when he turned 17. He became a crime reporter, no less, going from
school to the morgue and the most dangerous suburbs. Samuel even had a
little encounter with Al Capone.

Like
Kerouac in the 1930s, the young journalist left New York and travelled
across America with his typewriter portraying the country and the
economic crisis. He started drawing cartoons, writing books and even
being a ghostwriter for a popular author, whose name Fuller promised
never to disclose in his life.

Despite
being a published author much earlier than a filmmaker, Samuel Fuller
is known for his movies. Just like many other filmmakers, he arrived in
Hollywood as a screenwriter. He wrote many unaccredited stories, but
soon he started thinking about filming too, but his plans were
interrupted by the war. The United States entered World War II and
Fuller decided to enlist in the infantry. He admits that he did it
because he wanted to cover the war from the front line, even when he
was offered a less risky position in the news department.

As
a soldier, Fuller had an outstanding role in the campaigns in North
Africa and Sicily, and he also participated in the Normandy invasion.
His wartime memories are vivid, realistic and raw, like his movies.
There is no room for useless metaphors or distractions. In his
recollection, war is not a time for heroes and soldiers had only two
options: being killed or going nuts. A blood taste prevails in his
writing.

The Big Red One
is probably Fuller’s most ambitious film. It was his lifetime project.
Made in 1980, it is an epic tale about his experiences during the war.
It features Lee Marvin, Mark “Luke Skywalker” Hamill and a group of
unknown young actors. It reconstructs the fears and the camaraderie of
the soldiers and the stories, and it is far more realistic than other
spectacular films, such as Saving Private Ryan.

Unfortunately,
producers cut the movie by 40 minutes, so at the time of its release it
didn’t have the impact it deserved and Fuller was unhappy with the
result. His first cut of the movie ran to four and a half hours. In
2004 the film was re-edited and reconstructed to be more faithful to
Fuller’s original vision. The new cut clocks in at 160-minutes and it’s
the version currently released on DVD.

Almost
ten years after his death, Samuel Fuller remains a cult filmmaker. His
films were never blockbusters, they didn’t receive many awards or have
a high budget – he didn’t need them. Nowadays his work is praised by
contemporary directors like Martin Scorsese (who wrote the foreword of
the autobiography), Jim Jarmusch, Quentin Tarantino and, Finland’s
finest, Aki and Mika Kaurismäki, who, incidentally, counted upon the
participation of Fuller in a little role on a couple of his films.

Other
trivia for the Finnish reader is that Samuel Fuller was a guest at the
first edition of Midnight Sun Film Festival in Sodankylä in 1986. In
the center of the town, a street was renamed in his honour: Samuel
Fullerin katu (Samuel Fuller’s street).

Do
yourself a favour and watch Samuel Fuller’s films and, if you have the
time, read his autobiography. It is the tale of a genuine storyteller.

{mosimage}
Watch out if you walk around the Finnish capital on September 20th
– 30th! Riots of crazy cinema lovers are expected to take the most important
theatres and fight for the best seats to enjoy one more year one of the best
film festivals in Finland:
Rakkautta ja Anarkiaa (Love and Anarchy). 

And as the old proverb says, if you cannot beat them, join them. The
20th edition of the festival offers an overwhelming good quality of films for
all kind of tastes. Cinema from all over the world gathered by a team of
organizers who truly love the seventh art, giving you an opportunity to enjoy all
kind of products, from the last and new hot releases from Hollywood to some
exotic Asian and European films that otherwise would be almost impossible to
see in the big screen. And do not worry if your knowledge of foreign languages
does not allow you to understand fluently Japanese or Korean, because all the
films in the festival will have English subtitles. Since the catalogue of films
grows year after year, this time there will be six different cinemas in Helsinki featuring
screenings: Bio Rex, Maxin, Kinopalatsi,
Andorra, Koff
Screen Dubrovnik and Kino Engel. Cultural events or just sharing a drink with
other cinema lovers and participants in the festival will be held in Andorra.

The festival also counts with a very useful and accurate web page with texts
in Finnish and English where you can find information about all the venues,
screenings, schedules, most awaited films voted by the audience, etc. There you
can also buy in advance festival catalogues and tickets. All design around
R&A is exhaling a youthful and fresh touch with funny illustration and
pictures that try to transmit the real spirit that links to all the visitors:
the love for good cinema.

Since going to all the featured films must be an impossible task for
most of you, we offer here some hints about what the programme of Rakkautta ja
Anarkiaa can offer:

 

{sidebar id=20}This is England
(Great Britain, 2006. Director Shaun
Meadows)

An approach to the harsh reality of England during Thatcher’s government
through the eyes of Shaun, a bullied child that joins a group of skin-heads
trying to find attention, respect and comprehension after his father’s death in
Falkland war.  Great interpretations by
the child Thomas Turgoose and Stephen Graham as Combo.

Friday 21.9. 18:30  Kinopalatsi 7

Saturday 22.9. 16:30 
Kinopalatsi 8

Sunday 23.9. 21:00  Kinopalatsi 8

Monday 24.9. 18:30  Bio Rex 

 

Control
(Great Britain, 2007. Director Anton
Corbijn)

One of the most awaited films of the festival. Joy Division
became a cult band after its singer, Ian Curtis committed suicide in
1980. Dutchman director Corbijn, who is also known as a top rock
photographer, offers a monochromatic dark film based on the book Touching
from a Distance, the memories of Curtis’s 
widow Debbie, exploring as well the triangle of love and
relations with Curtis’s  Belgian lover Annik
Honoré.

Thursday 20.9. 18:30 
Bio Rex

 

Aachi & Ssipak
(South Korea, 2006. Director Joe
Bum-Jim)

When a responsible person from the festival told me about an anime movie
focused on a gang that tries to control “Shit City” my reaction was like…”wow…I
must see this!”. But far from just curiosity, I found myself totally immersed
in one of the most entertaining, exciting and funny anime movies I have ever
seen. There is a tribute to action cinema history all around the script, from Mad
Max to Robocop, Akira, Indiana Jones… you name it! But the
final product is not just a simple remix of old clichés; it is an explosive,
sarcastic and clever movie that mixes the best of eastern and western animation
cinema traditions. You must not miss this one if you love anime!

Friday 28.9. 21:15  Andorra

Saturday 29.9. 16:30 
Bio Rex 

 

Persepolis
(France and USA, 2007.
Directors: Vincent Paronnaud and Marjane Satrapi)

Teherán 1978. 8 years old girl Marjane dreams of changing the world, but
later she will discover that the Islamic Revolution did not bring all what she
expected. Persepolis
hits the screen based on the acclaimed comic saga with tones of irony by Marjane
Satrapi. Iranian government seems not to share the excitement of French
public about the movie, and officially protested against it during its
introduction in last Cannes Festival in France. Well known actresses as Catherine
Deneuve and Chiara Mastroianni collaborated lending their voices to
the characters.

Sunday 23.9. 17:00  Bio Rex

 

Suely in the Sky
(Brasil, 2006. Director Karim
Ainouz)

Brasil is football and samba, but also hides a darker side of poverty
and difficult conditions for the population. Far from the stereotypical views
of Copacabana beach or from the extreme violence in the “favelas” shown in City
of God, Brasilian director Karim Ainouz takes us to a small
population where the shadow of prostitution hangs over Hermila, a young mother
whose idea for making a living and escape to a better life is to make an
auction among the men being the prize…to spend a night “in paradise” enjoying
her body. Drugs, alcohol and frantic sex for young people trying to find the
meaning of life in the middle of nowhere, but the film also shows a glimpse of
hope.

Friday 21.9. 21:00  Maxim 2

Sunday 23.9. 16:30  Maxim 1

Monday 24.9. 16:30  Kino Engel 1

Tuesday 25.9. 21:00  Kino Engel 2

 

Tales from Earthsea
(Japan, 2006. Director Goro
Miyazaki)

At present times when the topic of loss of balance in Earth is becoming
so hot (and not without real reasons to be worried…) Japanese director Goro
Miyazaki, son of worldwide famous anime director Hayao Miyazaki,
makes his debut in anime cinema with Tales from Earthsea, based overall
on the third book of the saga; a wonderful reflection about the fear of death,
the guilt, the friendship and the dark side of corruption and power. For those
who expect anxiously action here goes a warning: the philosophical dialogues
are the backbone of a film beautifully drawn.

Saturday 22.9. 18:30 
Bio Rex

 

I am a Cyborg but that's ok
(South Korea,
2006. Director: Chan-wook
Park)

South Korean director Chan-wook
Park has become one
of the favourites for the Western spectators after great hits like Sympathy
for Lady Vengeance or the ultra-violent and visually shocking Olboy.
But this time Park offers a different approach and a new register as a
director, far from his previous obsession about feelings like hate and
revenge,  with a love story settled into
a sanatorium. Tender feelings mixed with madness (and some action shooting
scenes “made in Park”) in a story that step by step that will make you feel
bounded to the sweetness of the two main characters (as a matter of fact the
male actor, Rain, is a real celebrity not only in Korea but in the whole Asia).
The personal vision of One Flew over the Cuckoo’s Nest through the eyes
of Park will definitely not let you indifferent.

Saturday 22.9. 21:00 
Kinopalatsi 6
Sunday 23.9. 16:30 
Kinopalatsi 8
Tuesday 25.9. 22:30 
KesäKino Engel
Thursday 27.9. 21:00 
Bio Rex

 

Doghead (2006, Spain.
Director: Santi Amodeo)

Amodeo belongs to this generation of Spanish directors with a brilliant
present and even better future and international projection that keeps
reminding the spectators that there is life in Spanish cinema after Almodóvar
opened the doors to the exportation of national cinema abroad. The film’s main
character is a young teenager whose head works in a different frame than the
rest of the people. And what a better option that to have chosen for the role
to Juan José Ballesta, who shows film after film that is probably the
most talented young actor in Spain
nowadays. If not, take a look to his previous works in El Bola, Planta 4ª
or 7 Vírgenes.

Saturday 22.9. 18:30 
Maxim 1

Sunday 23.9. 18:30  Maxim 2

Thursday 27.9. 16:30 
Kinopalatsi 8