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average ratings: 7,9 / 10 Directed by: Luke Lorentzen Mexico 
Release date: 2019 description: In Mexico City's wealthiest neighborhoods, the Ochoa family runs a private ambulance, competing with other for-profit EMTs for patients in need of urgent help. Midnight Family In Mexico City, the government operates fewer than 45 emergency ambulances for a population of 9 million. This has spawned an underground industry of for-profit ambulances often run by people with little or no training or certification. An exception in this ethically fraught, cutthroat industry, the Ochoa family struggles to keep their financial needs from jeopardizing the people in their care. When a crackdown by corrupt police pushes the family into greater hardship, they face increasing moral dilemmas even as they continue providing essential emergency medical services.
Nattens änglar städ. Critics Pick In this outstanding documentary, a family of emergency medical workers struggles both to save lives and to make a living. Credit. 1091 Media Midnight Family NYT Critic's Pick Directed by Luke Lorentzen Documentary, Action, Crime, Drama 1h 21m More Information Periodically while watching “Midnight Family” you feel as if you cant look at the screen for another second. But you cant look away either. That tension encapsulates the push-pull of this documentary, a haunting portrait of a family of emergency medical worker s in Mexico City. Because as you tag along on another wild nighttime ride, and yet one more life-or-death race, the familys careening ambulance seems like an emblem both of their reality and of your own whiplashing position as a viewer. The family at its center, the Ochoas, own and operate one of the many private ambulances that serve Mexico City. The director Luke Lorentzen takes you right inside the ambulance, squeezing you in alongside the Ochoas and several others as they tend to traumatized victims and an occasional member of a patients family. Its no surprise that it can be a deeply distressing fit. Nearly as alarming, though, are those instances when the Ochoas race a rival ambulance to the next accident and the documentary enters that unsettling zone where the pleasures of the chase (and good filmmaking) slam into your ethical sensibility, which is to Lorentzens point. Your stomach may start jumping (your thoughts too) e ven before the movie and ambulance take off. After opening with some sober scene-setting — a man washing blood off a bright yellow stretcher — Lorentzen drops in some of the documentarys few informational details. “In Mexico City, ” reads text on a dark screen, “the government operates fewer than 45 emergency ambulances for a population of nine million. ” Much of the citys emergency health care, the note continues, is handled by “a loose system of private ambulances. ” The Ochoas belong to this informal network, tending to hundreds of patients each year from inside their red-and-white ambulance. Serving as his own cinematographer, Lorentzen spends a lot of time in the back of that van, a space that you settle into as workers and patients enter and exit. He regularly points the camera at the windshield, giving you front-row access to the chaos; every so often, he trains it on the rear-door windows, as if looking for an escape. Another camera, mounted on the top of the dashboard, enables you to see inside the van, where Fer, the Ochoa paterfamilias, is generally found riding shotgun beside one son, Juan, a 17-year-old with a meticulous fade haircut and the wheel skills of a NASCAR racer. When the sirens blare and lights flash, Fer and Juan can make a formidable, at times grimly diverting, tag team. “Get out of my way, bicycle! ” Fer yells over the ambulance loudspeaker in an early scene, as the intensely focused Juan drives and another of Fers sons — the babyish-looking Josué, whos around 10 — tries to steady himself in the rear. As Lorentzen cuts from the vans occupants to the darkly jeweled street and back again, everyone and everything passing by is told where to go. “Keep moving, bus! ” Fer yells, before slipping into street-philosopher mode. “This is why people die! ” he says, over a lingering shot of Josué. “Because people like you dont move! ” The juxtaposition of Josués face and Fers words are representative of Lorentzens method. Embracing a familiar observational approach, he doesnt talk you through “Midnight Family” but instead lets his filmmaking choices convey his thoughts on the Ochoas and the mercenary world they inhabit. (He edited the documentary and is one of its producers. Lorentzen never explains how he found the family, who not only granted him seemingly free access to their ambulance, but also brought him into their home. Hes more expansive in the production notes where he says that he introduced himself after he saw Juan cleaning the van while Josué was playing with a soccer ball. “Midnight Family” can be tough to watch, but it never feels unprincipled or indulgently exploitative. Some of the most traumatic incidents have, of course, occurred before the ambulance roars up, but not all. Even when the worst happens, Lorentzen doesnt turn the gore and tears into a spectacle, and its instructive that some of the most dreadful moments take place off-camera or are conveyed through the triage patter or in later conversations. He also tends to obscure the faces of the wounded and whether legally or ethically motivated, this discretion is a relief. Its humanizing for the victims (be warned that these include children) and for the viewer. One of the enduring hurdles in visual storytelling is how to represent the suffering of others without adding to it, a difficulty that Lorentzen has clearly weighed. Thats evident in his point of view, what he shows you and doesnt, and obvious in his empathetic portrayal of the Ochoas. Theyre an appealing, affecting collection of souls, and you too want the best for them, even when you grasp their role in a system plagued by class inequities and inadequate services, kickbacks and shakedowns. Here, if it bleeds, it leads right into everyones pocket — the police, emergency workers, hospitals — a truism that makes this documentary feel finally, appallingly, universal. Midnight Family Not rated. In Spanish, with subtitles. Running time: 1 hour 21 minutes.
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Nattens c3 angular 8. YouTube. ME 2 PLEASE. Himmel. fin låt. Topp sjønnnnnnnn. Omg i love this show so damn much. So excited for Bill Skarsgard getting the It clown role on the new It movie. Skip to get tickets Midnight Family Fri, Jan 3 - Thu, Jan 9, 2020 Pittsburgh Cultural Trust Harris Theater Ticket Prices 8 general admission, 7 students and seniors all at the door only Drama Film An intense ride in a Mexican ambulance with a family struggling to stay afloat. Spanish with English subtitles In Mexico City, where the healthcare system cannot even begin to address the needs of nine million residents, the Ochoa family runs one of the citys privately owned ambulance services, scraping out a living by tending to the injured and desperately unwell, waiting on calls night after night, only to speed through the citys streets hoping to beat rival EMT crews to the scene. These visceral race-against-the-clock runs give Midnight Family the vibe of a suspense film, while 17-year-old son Juan emerges as the films everyday hero, a hard-hustling young man who acts as the sturdy backbone to his at-risk family. Director Luke Lorentzen takes care to place the Ochoas struggle within a larger ecosystem of civil failure, subsistence-level scavenging, and endemic corruption. "Outstanding. Fantastically shot by the director Luke Lorentzen, the documentary develops an urgency that suits the life-or-death stakes onscreen. By turns terrifying and exhilarating, Midnight Family unfolds with such velocity that it may take a while for your ethical doubts to catch up to whats happening. When they do, they leave you gasping. " – Manohla Dargis, New York Times Critics Pick Event Date Fri, Jan 3, 2020, 7:30 PM Sat, Jan 4, 2020, 4:30 PM Sat, Jan 4, 2020, 7:30 PM Sun, Jan 5, 2020, 4:30 PM Sun, Jan 5, 2020, 7:30 PM Mon, Jan 6, 2020, 7:30 PM Tue, Jan 7, 2020, 7:30 PM Wed, Jan 8, 2020, 7:30 PM Thu, Jan 9, 2020, 7:30 PM Accessibility: Wheelchair Seating Note: All services may not be available at all performances. Click the link above for accessible performance schedule or contact customer service for further assistance. 809 Liberty Ave Pittsburgh PA 15222 Box office phone: 412-471-9700.
Nattens änglar dokumentär. I've been in love with Famke since goldeneye. Nattens anglars saint. Lyssna på denna låten den är så fin. Nattens ä. Nattens änglar imdb. Nattens änglar melodifestivalen. Every time I watch, all I see us Pennywise 🤣. In Mexico City, the government operates fewer than 45 emergency ambulances for a population of 9 million. This has spawned an underground industry of for-profit ambulances often run by people with little or no training or certification. An exception in this ethically fraught, cutthroat industry, the Ochoa family struggles to keep their financial needs from jeopardizing the people in their care. When a crackdown by corrupt police pushes the family into greater hardship, they face increasing moral dilemmas even as they continue providing essential emergency medical services.
Brilliant! This show is amazing. Well written, phenomenal cast, the cinematography is beautiful. Just an incredible all around show! Bravo Netflix. I really hope theres a series 2, this needs a second series. Nattens anglards de salers. Så fina är ni Olle. Nattens anglars. With less than 45 government-operated ambulances servicing all of Mexico Citys nine million population, there is an underground market and urgent need for first responders. This utterly captivating documentary, which premiered at Sundance to rave reviews and has picked up countless international festival awards since, centres on a family of private ambulance operators who struggle to provide emergency care while making ends meet. Director-cinematographer-editor Luke Lorentzens discerning camera sensitively captures the fast-paced action and tough decisions, made more dramatic by a broken system. In Spanish with English subtitles. Concerned about what will be on screen? See our Content Considerations page. There are no showtimes currently scheduled for Midnight Family "A wild — and remarkably eye-opening — ride. " Rolling Stone "Profound and thrilling cinema verité filmmaking. " Directed by: Luke Lorentzen Featuring: Juan Ochoa Fer Ochoa Josué Ochoa Manuel Hernández Year: 2019 Runtime: 81 mins Rating: PG Back to Top.
Såg föreställningen med Mikael Samuelsson på Oscarsteatern nån gång på 90-talet. Det var så sjukt bra. Han är den bäste Fantomen någonsin! När han hängde där i kristallkronan var jag övertygad om att jag kommit till himlen! Jag tror fortfarande att det var en underbar dröm. D. Lyssna på denna låt man ska tänka innan man bedömmer en person man får en tanke ställare. Matt Zoller Seitz December 6, 2019 The night comes alive in "Midnight Family, Luke Lorentzen's film about a private ambulance service in Mexico City. This is one of the great contemporary films about the look and feel of a big city after dark, luxuriating in the vastness of almost-empty avenues lit by buzzing streetlamps. It's a real-life answer to fiction movies like " Taxi Driver. Bringing Out the Dead, " Collateral. Nightcrawler " and " The Sweet Smell of Success. " And yet, despite the film's careful attention to images and sounds—which is somewhat unusual in nonfiction, a mode that too often relies on verbal summaries, infographics, and talking heads—Lorentzen never allows "Midnight Family" to become an empty stylistic exercise. He stays tightly focused on his main characters, the Ochoa family, as they scramble to survive in a brutal, unregulated economy. Advertisement The Ochoas live and work in a city with nine million people but only 45 government-operated ambulances. Their ambulance is nominally run by a father, Fer, who has health problems and seems profoundly depressed (some of the film's most haunting images are silent closeups of his face lost in thought. But the real boss is Fer's 17-year old son Juan, who usually takes the lead in treating patients, dealing with finances and official regulations, and arguing with cops who hassle them in hopes of shaking loose a bribe. Juan also acts as an adjunct father to his little brother Josué, who gets frustrated at their hard existence (there's an argument over how many cans of tuna they can afford to buy) but would rather be on the job with his family than attend school. It's a rough life. The Ochoas seem to live in the ambulance more so than in their small, cluttered apartment. A lot of the Ochoas' patients can't or won't pay them for their labor. They must compete with other ambulance services to get to a scene first, even street-racing a rival in a sequence that's reminiscent of the moment in " Gangs of New York " where the crews of two private fire trucks brawl in front of a burning house. Every month is a financial crap shoot. The filmmaker, who shot and edited the movie in addition to directing and producing it, seems to have taken his cues from an earlier era of documentary cinema, represented by directors like the Maysles Brothers ( Salesman, " Gimme Shelter. and D. A. Pennebaker. Don't Look Back. The movie captures moments of astonishing intimacy, not just with the Ochoas but with their patients, the police, and the citizens they interact with from moment to moment. The camera looks at people and places and lets us think and feel things, rather than constantly and clumsily trying to manage our reactions. There's implicit criticism of government ineptitude and corruption and the viciousness of profit-driven life, particularly when it comes to healthcare, but these concerns emerge organically from the situations the director shows us. The tone is empathetic but clear-eyed, presenting the world's indifference to struggle and suffering as a hard fact, as immutable as the winter draft that chills the interior of the ambulance until Juan asks his dad to shut the doors. There's no music. The movie doesn't need it. It has traffic sounds, barking dogs, roaring auto engines and squealing tires, and the screams of injured people nearly drowning out the reassurances of paramedics trying to stop the bleeding. The sense of place is nearly overwhelming, and the editing finds little ways to re-emphasize it, such as holding on an empty room or ambulance interior for a beat or two after people have exited the frame. All the world's a stage, we're mere extras upon it, and there's no way to know if anyone's watching the play. Reveal Comments comments powered by.
Nattens c3 angular 7. Nattens anglards de. Watched the 1st episode & it's interesting. I liked it. Nattens anglars saint félix. Season 2 has been announced. No upcoming screenings. Available No Tickets Available [ artDate, amDateFormat: dddd, MMMM Do" artDate, amDateFormat: h:mm A. You may not purchase more tickets at this time. About With striking vérité camerawork, Midnight Family drops us directly into the frenetic nighttime emergency ecosystem of Mexico City. In the midst of high-speed ambulance rides, we meet the Ochoas, a ragtag family of private paramedics, who try desperately every day to be the first responders to critically injured patients. In a city where the government operates only 45 emergency ambulances for a population of over nine million, the family acts as a crucial—but unregistered—underground lifeline. But the job is riddled with police bribes and cutthroat competition. And even though the Ochoa family has a reputation for being trustworthy, they must reckon with the sudden escalation in bribes that could force them to wade into the ethically questionable practice of making money off of patients in dire straits. Midnight Family maintains a breathless speed and urgency throughout. The camera is always exactly where it needs to be, capturing the intense textures and thrills of rides and rescues until, with each repetition, a subtextual story emerges—of a family and a society under profound financial and moral duress. Screens with The Dispossessed Hazari is a traditional faith healer, exorcising patients who've been possessed by jinn. But in Kashmir amidst the worlds longest-running conflict, nothing is as it seems. YEAR 2018 CATEGORY U. S. Documentary Competition COUNTRY Mexico/U. A. RUN TIME 81 min LANGUAGE Spanish SUBTITLES Yes with English subtitles EMAIL PHONE (914) 584-0275 Credits Director Luke Lorentzen Producers Kellen Quinn Daniela Alatorre Elena Fortes Subjects Juan Ochoa Fer Ochoa Josué Ochoa Manuel Hernández Cinematography Edited By Co Editor Paloma López Carrillo Consulting Editor Mary Lampson Sound Design Matías Barberis Music By Los Shajatos Music Performed By Leonardo Heiblum Jacobo Lieberman Alexis Ruiz Andrés Sánchez Consulting Producers Jamie Meltzer Christian Jensen Artist Bio Luke Lorentzen graduated from Stanford University in art history and film studies. His short film Santa Cruz del Islote (2014) won awards at over 10 international film festivals. His first feature documentary New York Cuts (2015) had its world premiere at the International Documentary Film Festival Amsterdam and its U. premiere at the Camden International Film Festival. Luke is also part of the team behind Netflix's documentary series Last Chance U.
Photo: 1091 Media Mexico Citys health care crisis, much like Americas, primarily revolves around prohibitive costs and limited access. The issues myriad complexities are neatly embodied by a single problem plaguing the city: an ambulance shortage. The Mexico City government only operates 45 emergency ambulances to accomplish the impossible task of serving nine million people. Private ambulance companies, such as the one run by the father-and-sons team at the center of Luke Lorentzens vérité documentary Midnight Family, have sprung up in the city to fill the void. As members of a for-profit underground network, the Ochoa family frequently cuts ethical and medical corners in order to help an underserved population. When theres profit to be made, capitalism finds a way. Like any small business, the Ochoa family comes up against many daily obstacles that hinder their success. They face fierce competition from other private and public EMTs, often dangerously racing them in the streets to accident scenes. Corrupt cops constantly impede their progress by demanding bribes or halting their assistance. Since the Ochoas work in a liminal legal space, they dont necessarily have access to the proper equipment, let alone paperwork or an up-to-date vehicle. Most frustrating of all, theyre forced to shake down the victims they transport when they cant or wont pay. The Ochoa family may charge high prices for their emergency services, but the money they reap mostly goes toward upkeep and expenses. By night, they save lives. By day, theyre just another low-income Mexico City family struggling to put food on the table and pay their electric bills. Lorentzen documents the nightly excursions in stunning widescreen compositions, carefully orchestrated and featuring an urban-noir color palette dominated by the ambulances spinning blue warning light. (At times, the imagery almost recalls the night scenes in Michael Manns Thief. Despite the flattering aesthetic, Lorentzen doesnt present the Ochoa family in an exaggerated heroic light. Instead, he matter-of-factly focuses on the intersection between their mercenary and selfless impulses. Its obvious that Fer and his two sons, Juan (age 17) and Josué (age 10) feel responsible for the people in their charge and take their safety seriously. At the same time, theyre forced to make ethically questionable decisions every time theyre on the road, like pressuring people in critical condition to accept care they cant afford. Lorentzen keeps the action as thrilling as possible in the moment—he films two heavy-duty car chases and a time-sensitive journey to the hospital, both of which are as suspenseful as anything youll find in the multiplex—to replicate the high-pressure context that allows the Ochoas problematic conduct to thrive. Which mother wouldnt instinctually trust the EMTs in charge of saving her daughters life, even if their profit motive inevitably guides, and sometimes clouds, their judgment? To his credit, Lorentzen never guides the audiences moral response, allowing us to make up our minds about the Ochoas on a scene-by-scene basis. He also provides ample rationale for their actions by depicting their hand-to-mouth lifestyle alongside the on-the-job drudgery. Alt hough Midnight Family s diaristic structure contributes to a general shapelessness (the film doesnt end so much as just stop) it allows for plenty of time spent with the Ochoa family, including Juan and Josué, who bicker and joke around with each other as often as they patrol the streets for misfortune. These moments of downtime provide a warm, comic energy to Midnight Family that renders the Ochoas naturally sympathetic subjects and illustrates why Lorentzen decided to film them in the first place. Yet they also throw the scenes where, say, theyre coercing the mother of a domestic abuse victim to pay 3, 800 pesos for a hospital ride in a different light. A health care system that cant effectively cover its population and forces civilians to pick up the slack turns everyone into a victim.
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Emergency lights glaze the darkness of the night with blinding blue and red hues in Luke Lorentzens electrifying, Mexico City-set documentary “Midnight Family. ” In the business of preventing tragedy, the Ochoa family operates a private ambulance that supplements a decrepit system with only 45 government-owned units for a population of millions. Astute 17-year-old Juan (an avid driver) his naughty young brother Josué, and their ill father Fernando, brave the sprawling metropolis to aide victims of crime and accidents, gambling on whether the families will willingly pay them for their services. Life-or-death incidents unfold before our eyes with intense urgency, yet the filmmaker finds breathing room to intimately profile a group of terribly underpaid heroes. Acting as his own cinematographer, Lorentzen rode in the back of the vehicle to procure first-hand accounts of the impoverished first responders unpredictable nightly trips. Footage obtained via a dashboard camera in the main cabin complements the piece as it grants unfiltered access to the trios affectionately crass banter. The men in this clan reserve gentleness only for those in crisis, between them tough love is the norm. Concentrated on the premises fast-paced rawness, the young documentarian omits valuable information, like how the Ochoas entered this high-risk line of work in which they often dont make enough to feed themselves and are constantly the victims of police extortion. Whats indelible in this visceral chronicle is that more than profiting from human suffering, the Ochoas fill the gaps of economic inequality while doing good without reservation. 'Midnight Family In Spanish with English subtitles Not rated Running time: 1 hour, 21 minutes Playing: Starts Dec. 13, Laemmle Royal, West Los Angeles.
Bra.låt. Nattens änglar svt. Is the video's music the opening of the serie ? or just for the promo ? I love it. Den er så vakker denne låten. Omg, barndoms minnen. Så sant! Minns. Nattens c3 angular 6. November 10, 2019 11:40PM PT A family attempts to make a meager living operating a private ambulance in Mexico City in Luke Lorentzens gripping doc. If you think the health care system is flawed in America, “ Midnight Family ” provides a stark snapshot of how truly broken things are in Mexico City, where fewer than 45 public ambulances serve a population of 9 million. Luke Lorentzen s documentary takes up residence alongside the Ochoa family, who earn a living — just barely — by operating one of the metropolis numerous privately owned ambulances, ferrying the injured to hospitals in hopes of being monetarily rewarded for their efforts. Portraits of institutional dysfunction dont come much more urgent, and quietly bleak, than this, which should help the film attract serious attention following its Sundance Film Festival premiere. Though medically unstable Fer is the nominal head of the Ochoa household, its his mature 17-year-old son Juan who — despite his youthful complexion (replete with braces) and habit of hugging a giant stuffed animal during interviews — whos the clans real father figure. Theirs is a tenuous existence in which each night is spent hanging out in the ambulance waiting for a call. When emergency notifications arrive, they ignite harrowing races through Mexico Citys bustling streets, as the Ochoas try to beat rival EMT outfits to the scene and, then, to quickly strap the wounded into stretchers and load them into the back of their van. Such urgency comes, of course, from their desire to help people survive potentially serious injuries. Yet as Lorentzens film makes clear via the Ochoas day-to-day ordeal, its also driven by a desire to lock citizens into their care — which, ostensibly, will result in payment at the end of the ride. “Midnight Family” illustrates that compensation is rarely in the cards here, as haggling leads to either polite apologies from those unable to pay, or harsher rejections from those simply unwilling to reimburse the paramedics for their trouble. As if that werent problematic enough for Juan and Fern, who can only assume their duties if a public ambulance doesnt show up first, the police are constant impediments, blocking them from accepting patients, citing them for unreasonable (and supposedly made-up) violations, and, at one point, threatening to arrest Juan if they arent paid a bribe. “Midnight Family” conveys all of this by sticking close to the Ochoas as they navigate an untenable state of affairs that links private ambulances, hospitals and police officers in a web of financial self-interest. Serving as his own cinematographer and editor, director Lorentzen generates intense empathy by following Juan and Fern during a breakneck attempt to get a young girl with a traumatic brain injury to a hospital — yelling at passing cars through a loudspeaker, and giving traffic directions to each other — while the girls terrified mother sits beside them in the front seat. At such moments, the film achieves a powerful measure of suspense thats intricately tied up in its despairing sociological depiction of a system thats come apart at the seams. Through it all, Juan counts every penny, spends frugally (on, for example, a dinner of tuna fish and corn) recounts his exploits to his girlfriend on the phone, and cares for his younger brother Josué, who prefers to spend his time ratting around in the back of the ambulance — laughing with friends, eating chips or catching a quick nap — rather than attending school. In his criticisms of his siblings delinquency, which come equipped with explanations about why an education is so important, Juan proves himself an everyday hero, trying at home and in the streets as a paramedic, to keep his — and everyone elses — world together. After three weeks in theaters, Sonys “Bad Boys for Life” is officially the highest-grossing installment in the action-comedy series. The Will Smith and Martin Lawrence-led threequel has made 291 million globally to date, pushing it past previous franchise record holder, 2003s “Bad Boys II” and its 271 million haul. The first entry, 1995s “Bad Boys, ”. The BAFTA film awards have kicked off in London, with Graham Norton hosting this year at the Royal Albert Hall. The awards will be broadcast on the BBC in the United Kingdom and at 5 p. m. PT on BBC America. “Joker” topped the nominations with 11 nods, while “Once Upon a Time in Hollywood, ” and. “1917, ” Sam Mendes World War I survival thriller, has taken an early lead at the 73rd British Academy of Film and Televisions Film Awards with four wins so far. “1917” took the first award of the evening, the Outstanding British Film Award, where it was the clear favourite in the category against fellow nominees “Bait, ”. Every summer, more than 1, 000 teens swarm the Texas capitol building to attend Boys State, the annual American Legion-sponsored leadership conference where these incipient politicians divide into rival parties, the Nationalists and the Federalists, and attempt to build a mock government from the ground up. In 2017, the program attracted attention for all the wrong. Box office newcomers “Rhythm Section” and “Gretel and Hansel” fumbled as “Bad Boys for Life” remained champions during a painfully slow Super Bowl weekend. Studios consider Sundays NFL championship a dead zone at movie theaters since the Super Bowl is the most-watched TV event. This year proved no exception. Overall ticket sales for the weekend. Ahead of tonights BAFTA Awards in London, Amy Gustin and Deena Wallace, co-directors of the British Independent Film Awards (BIFA) discuss how they shook up their awards voting mechanisms to become more inclusive of a wider variety of films and filmmakers. BIFA is different from other awards bodies in its process as well as its. A wide range of Scandinavian films, including the politically-charged Danish drama “Shorta, ” the supernatural Icelandic drama “Lamb” with Noomi Rapace, and the Finnish-Iranian refugee tale “Any Day Now, were some of the highlights at this years Nordic Film Market. They were presented, along with 13 other films in post-production, as part of the Work-in-Progress section.
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