This year’s International Competition can be summed up in one word: “place.” In System Crasher , nine-year-old Benni moves from one institution to another without a proper home. A young Spanish woman named Leonor dreams of a new life but encounters unexpected twists and turns in Journey to A Mother's Room. The protagonist of Thirty lives in a small apartment in Berlin, just as the immigrant worker in From Tomorrow On, I Will rests his body in a cramped room. Breathless Animals features Chinese apartments from the 1970s. In Last Night I Saw You Smiling , we get a glimpse of life in the White Building, Phnom Penh. Copenhagen in Sons of Denmark is a site of conflict between discontent immigrants and political reality, while the towns in Bosnia and Herzegovinian in The Stone Speakers remain deeply scarred by the civil war.
Ohong Village depicts scenes from everyday life in the peaceful southern village in Taiwan. Homing is set in Brazil’s peripheral towns, and The Innocent explores the space of reality for someone recently released from prison. Each of these places appears mundane, yet holds a special meaning to whoever lives in it. At the same time, those same places become “non-places” that lose their spatial significance. Everyone must now withstand the weight of reality. Therefore, the places in these eleven films are at once “non-places” and mirrors that reflect our present.
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