Based on a true story, an adoring wife and mother is taken hostage during a robbery and brutally murdered.

"A Crevice of Violence" is a story about a boy’s life. His mother has left the family and his father is an alcoholic. The boy is a very violent troublemaker. The stand out point of "A Crevice of Violence "is that it doesn’t only show the cycle of violation but actually questions on how to exit this vicious cycle. The film tries to find a way through the attitude of his remarried mother and his judge in charge and the facial expression of the boy when he meets them.

For the third and final contribution to Contour Biennale 8, inhabitants has commissioned Adam Khalil and Zack Khalil in order to host an urgent reflection on indigenous sovereignty, the undead violence of museum archives, and post-mortem justice. 　　Filmmakers Adam and Zack Khalil, in collaboration with artist Jackson Polys, investigate the recent court case that decided the fate of the remains of a prehistoric Paleoamerican man found in Kennewick, Washington State in 1996. The case pitted the Umatilla people and other tribes, who wanted to provide a burial to the “Ancient One”, against two scientists—one of which from the publicly-funded Smithsonian Institute—who wanted to study the “Kennewick Man”. In order for the claim to fall under the Native American Graves Protection and Repatriation Act (NAGPRA) it became necessary to establish the lineage of these remains. This fight unleashed a controversy with groups attempting to establish white ancestry, and with this seeking to altogether undermine the indigenous sovereignty over land and ancestors and annul centuries of colonial violence. The evolving science of DNA and cranial morphology was grotesquely called in to testify to the purity of the bones’ ethnicity, where native claims to embodied knowledge of its origin had little means of addressing the court. Despite all of this, the Umatilla people and other tribes ultimately repatriated the “Ancient One” and he was reburied earlier this year in 2017. 　　Bios: 　　Adam Khalil and Zack Khalil (Ojibway) are filmmakers and artists from Sault Ste. Marie, Michigan and currently based in Brooklyn, New York. Their work subverts traditional forms of ethnography through humor, transgression, and innovative documentary practice. Their films and installations have been exhibited at the Museum of Modern Art, Walker Arts Center, e-flux, UnionDocs, and Microscope Gallery. 　　Jackson Polys is an artist who lives and works between what is currently called Alaska and New York. His work reflects examinations into the limits and viability of desires for indigenous growth. He began carving with his father, Tlingit artist Nathan Jackson, in high school, has worked as an artist based in Alaska as Stron Softi, with solo exhibitions at the Alaska State Museum and the Anchorage Museum, and holds an MFA in Visual Arts from Columbia University’s School of the Arts (2015).

For the third and final contribution to Contour Biennale 8, inhabitants has commissioned Adam Khalil and Zack Khalil in order to host an urgent reflection on indigenous sovereignty, the undead violence of museum archives, and post-mortem justice. 　　Filmmakers Adam and Zack Khalil, in collaboration with artist Jackson Polys, investigate the recent court case that decided the fate of the remains of a prehistoric Paleoamerican man found in Kennewick, Washington State in 1996. The case pitted the Umatilla people and other tribes, who wanted to provide a burial to the “Ancient One”, against two scientists—one of which from the publicly-funded Smithsonian Institute—who wanted to study the “Kennewick Man”. In order for the claim to fall under the Native American Graves Protection and Repatriation Act (NAGPRA) it became necessary to establish the lineage of these remains. This fight unleashed a controversy with groups attempting to establish white ancestry, and with this seeking to altogether undermine the indigenous sovereignty over land and ancestors and annul centuries of colonial violence. The evolving science of DNA and cranial morphology was grotesquely called in to testify to the purity of the bones’ ethnicity, where native claims to embodied knowledge of its origin had little means of addressing the court. Despite all of this, the Umatilla people and other tribes ultimately repatriated the “Ancient One” and he was reburied earlier this year in 2017. 　　Bios: 　　Adam Khalil and Zack Khalil (Ojibway) are filmmakers and artists from Sault Ste. Marie, Michigan and currently based in Brooklyn, New York. Their work subverts traditional forms of ethnography through humor, transgression, and innovative documentary practice. Their films and installations have been exhibited at the Museum of Modern Art, Walker Arts Center, e-flux, UnionDocs, and Microscope Gallery. 　　Jackson Polys is an artist who lives and works between what is currently called Alaska and New York. His work reflects examinations into the limits and viability of desires for indigenous growth. He began carving with his father, Tlingit artist Nathan Jackson, in high school, has worked as an artist based in Alaska as Stron Softi, with solo exhibitions at the Alaska State Museum and the Anchorage Museum, and holds an MFA in Visual Arts from Columbia University’s School of the Arts (2015).

In the aftermath of World War II, a British colonel and his wife are assigned to live in Hamburg during the post-war reconstruction, but tensions arise with the German widower who lives with them.

Tae-su, a detective fighting organized crime, returns to his hometown for his high school friend Wang-jae's funeral. There, he meets his old friends Pil-ho, Dong-hwan and Seok-hwan and they reminisce. Suspecting something fishy about Wang-jae's death, Tae-su and Seok-hwan start investigating it, each in his own way. Their investigations lead to a land development project that Pil-ho is directing.

High school student Sung Jin commits suicide after being the victim of school violence for a long time. Three years later, one of his bullies Han Yeo Wool debuts as a celebrity. Sung Jin's brother, Sung Hyun, blames himself for not recognizing the pain his brother went through and finds a comment on Han Yeo Wool's news report that Sung Jin didn't commit suicide but was instead killed by Yeo Wool. The brother sets out to find the truth and he heads for destruction.

Axel Chen, ex-special ops, is a nightclub bouncer. One night, during a fight, he kills one of his attackers. From then on, he's on the run, forced into fighting for a living, both to survive and prove his innocence.

Tsunami: The Aftermath is a television mini-series that was broadcast in two parts in 2006. It dramatizes the events following the 2004 Indian Ocean earthquake and the resulting tsunami in Thailand. Tsunami: The Aftermath is a joint production of HBO and the BBC and stars Tim Roth, Toni Collette, Sophie Okonedo, Samrit Machielsen, Chiwetel Ejiofor, and Savannah Loney. It was filmed in Phuket and Khao Lak, Thailand from April to June 2006. Phuket and Khao Lak were two of the worst hit areas in the country in the December 26, 2004 disaster.

Fogel’s follow-up provides a hair-raising mixture of Kafkaesque nightmare and Le Carré-type suspense as, over the course of three years, Rodchenkov is a nomad refugee, continuously moving residences, protected by his heardbut-never-seen security detail. Why? Vladimir Putin has publicly stated his determination to kill Rodchenkov. Fogel’s astonishing story includes Rodchenkov’s daring attempts to counter Putin’s charges, and his painful efforts to obtain U.S. citizenship.