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Let the Right One In Takes Top Honors at Tribeca Film Festival and is now an Award-winning movie in both the U.S. and Sweden

It is autumn 1981 when inconceivable horror comes to Blackeberg, a suburb in Sweden. The body of a teenager is found, emptied of blood, the murder rumored to be part of a ritual killing. Twelve-year-old Oskar is personally hoping that revenge has come at long last---revenge for the bullying he endures at school, day after day.

But the murder is not the most important thing on his mind. A new girl has moved in next door---a girl who has never seen...

Swedish filmmaker Roy Andersson's celebrated and enigmatic film Songs from the Second Floor, his first feature film in twenty-five years, won the Special Jury Prize at the Cannes Film Festival in 2000. The "songs" of the film's title refer to Andersson's artistic ruminations on the state of mankind from his office on the second floor of Studio 24 in Stockholm. The film presents a series of forty-six tableaux--long, deep-focus shots with a still camera, mostly in studio settings, using older visual tricks such as trompe l'oeil. The tableaux showcase seemingly trivial tragicomic...

Nescházejí nám znalosti. Chybí nám odvaha uvědomit si, co víme, a vyvodit z toho důsledky. Vyhlaďte všechny ty netvory! říká ve slavné Conradově novele Srdce temnoty šílený obchodník Kurtz. Je to cynické doporučení, jak zajistit bílým kolonizátorům pohodlné podnikání s africkými surovinami. Kurtz je sice fiktivní postavou, ztělesňuje však evropské myšlení své doby. Myšlení, pro něž byla genocida legitimní cestou k bohatství a moci; myšlení, které mělo zrodit dvacáté století i s jeho hrůzami. Pravda má občas podobu střípků...

Swedish filmmaker Roy Andersson's celebrated and enigmatic film Songs from the Second Floor, his first feature film in twenty-five years, won the Special Jury Prize at the Cannes Film Festival in 2000. The "songs" of the film's title refer to Andersson's artistic ruminations on the state of mankind from his office on the second floor of Studio 24 in Stockholm. The film presents a series of forty-six tableaux--long, deep-focus shots with a still camera, mostly in studio settings, using older visual tricks such as trompe l'oeil. The tableaux showcase seemingly trivial tragicomic...