A French expat businessman in Taipei with a hole in his head who is lost in thought is driven over the edge by his obsession: the smell of fried fish. In reality, he is chasing the scent of revenge, one that will be fiercely wreaked with 8 bullets.
Through different points of view and flashbacks that are entangled like the tentacles of an octopus a disjointed narrative is built around a core of muted lines, backgrounds and colours.

Victor Orozco

Nowadays countless journalists and photographers are travelling the world to supply us with the latest news and images from conflict regions. Stories of heroic war reporters were often told in the cinema. Jérôme Clément-Wilz takes a different perspective: news journalism is an industry, too. Many freelance photographers, most of them young, travel to hotspots at their own expense – hoping to shoot the life-changing picture at the right place at the right time and sell it for a high price to the leading media or agencies. The film is an intimate observation of the lives of young French reporters that gives them the space to reflect on their work. Their dreams come true in the Arab Spring: their pictures make it to the cover pages of the biggest dailies. And yet Clément-Wilz avoids heroic pathos, concentrating instead on his young protagonists’ spirit of adventure and youthful recklessness on the one hand and on the tough business where there are no safety nets and where the ones who risk their lives most readily have the best chances of survival on the other. War reporter – a precarious job.

Zaza Rusadze

A pupil and a teacher, alone in a bare classroom. On the surface this is about the girl’s hairdo. But what exactly is it that unfolds around the long pigtail: a power game, a showdown, or just a fantasy? Virginia Mori spent a year drawing with pencil and ballpoint pen on paper. Her 3,000 drawings, set to Andrea Martignoni’s music, are condensed into a melancholy and dreamlike chamber play about power and submission.

Nadja Rademacher

The three protagonists of this film are united by something that they must still learn to understand: a loss that happened so early in their lives they don’t remember it but that affected their development nonetheless. The film uses different aesthetics to depict these persons’ search for a lost part of themselves, the questions they ask themselves and others, and the longing that will always be part of them.

Annegret Richter

They eat their meals alone, voluntarily or not. The lives of six outsiders are presented and animated in exquisitely composed images and colours. Banoczki and Szabo consistently use their relationship to food as a vehicle for their narrative. How we eat reveals how we relate to our environment and other human beings – not just in fiction, and today more than ever.

Nadja Rademacher