Insomniacs After School

No one seems to understand Nakami. His nights are restless, his days sleepy, and his time at school is isolating. Yet all that seems to change when he encounters his carefree classmate, Magari, dozing off in their high school’s abandoned observatory. Not only is Magari friendly, she’s also a closet insomniac. Together they find solidarity in their shared condition, using the observatory to nap as needed. When their unsanctioned use of the space is discovered, the only way to save their refuge is to revive the school’s long defunct astronomy club. As they work together and get to know each other, their bond grows ever stronger, but hidden truths threaten to cut their budding friendship shot.

7 Years

A devoted young woman becomes ensnared in a web of sexuality and betrayal in Jean-Pascal Hattu’s consistently unpredictable and finely wrought character study. A vividly realistic psychosexual drama, the film’s sharp emotional honesty heralds a distinct new voice from a promising young director. Hattu soon reveals that Maite’s husband Vincent is in prison for an unspecified crime, and that she has promised to wait for him and attend to his laundry (if not his conjugal needs) during his incarceration. On one of her weekly visits, Maite meets Jean, an oddly inquisitive and boldly flirtatious prison warden, and soon the two commence a joyless affair. Seemingly smitten with Maite, Jean, in a gesture of kindness to his lover, eases up on her husband behind bars; the two become pals and even engage in some homoerotic shower talk. —Robert O’Shaughnessy

Film

"This piece, with the generic title Film, is a series of short videos built around one protocol: a snippet of news from a newspaper of the day, is rolled up and then placed on a black-inked surface. On making contact with the liquid, the roll opens and of Its own accord frees itself of the gesture that fashioned it. As it comes alive in this way, the sliver of paper reveals Its hitherto unexposed content; this unpredictable kinematics is evidence of the constant impermanence of news. As well as exploring a certain archaeology of cinema, the mechanism references the passage of time: the ink, whether it is poured or printed, is the ink of ongoing human history." –Ismaïl Bahri

For frihed og ret