Marwencol
Marwencol’s extraordinary story explains its appeal. Mark Hogancamp is beaten and left for dead by thugs outside a bar in Upstate New York. Awoken from a coma, he’s lost his memory and dependency on drink. Yet without insurance or cash he can’t afford medicine or therapy.
A poster child for US health care’s failures, he devises his own treatment, constructing and photographing an imagined World War II Belgian mini-village called Marwencol with American G.I. dolls (and local Barmaids) who battle with Nazi figurines. When a Manhattan gallery exhibits this cosmology, the art world lauds a new naïf.
David D'Arcy, Screen International
Unpredictable and absorbing, Marwencol poses penetrating questions – about art, outsider status, the mysteries of the human brain and the possibility of second chances – all while circling, ever closer, an unforgettable individual and the unknowable creative impulse.
Sheri Linden, The Hollywood Reporter
Hogancamp's art is the art of loneliness, the work of a man creating a community for himself where none exists.
Todd Brown, Twitch
The Lost Thing
Running 15 minutes, helmers Andrew Ruhemann and Shaun Tan's The Lost Thing feels like a storybook come to life, using a highly eccentric design style to sell its melancholy Kafka-like message to kids: A teenager realizes just how absorbed everyone around him is in their mindless, mundane existence after finding a strange Lovecraftian creature on the beach. Highly conspicuous, the thing looks like a cross between a rusty red teapot and a giant green octopus, and yet, no one seems to pay it any mind, leaving the boy to navigate a bureaucratic maze alone in order to find it a new home.
Peter Debruge, Variety
The Lost Thing (...) has an intriguing steam-punk aesthetic wrapped around a melancholy allegory of consumerism and urban anomie.
A. O. Scott, The New York Times
Duration: 98 min (sis.alkukuvan)
Dialogue: English
Age limit: K15
