A psychoanalysis session where the shrink seems to take pleasure in playing with his patient's nerves. But every symptom has an explanation...

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Alice is 16 years old and an introverted girl with a special ability: she hears extraordinarily well. When her mother sends her to a Catholic foster home, she remains an outsider in a group of self-confident teenage girls. Only Berivan, a Kurdish refugee who seeks for asylum in Germany, tries to learn more about Alice. They finally become close friends, but Berivan's relationship to an Albanian guy destroys the girls' friendship

Ghya-chang-fou literally means 'suddenly beheading' in Bengali. it features thirteen unnamed people gathering in a mansion filled with archaic objects to celebrate what appears to be a communist revolution. Nothing seems real, roads open up to improbable places, places lead to impossible elevators, elevators lift people to unconvincing roads. Bacchanalian spirit steadily overtakes the initial deadpan seriousness. The encore of celebration sounds delusionary as the drunken conversation about communism, about its methods and means, about it intricate turns through history degenerates to bourgeois nonsense and decadence leading to absurd rifts, comic conflicts, unleashed orgies and debauchery.

Ghya Chang Fou is a dark political satire which identifies itself as an alternative underground film. The film has been made without any support from the mainstream industry and thus in many ways it belongs to the domain of independent film making practice. The film depicts unabashed sex, violence, BDSM acts, extreme political views and incest. The film consciously avoids the glossy look. Instead, it explores with raw and dark images which adds novelty to the film. Ghya-chang-fou literally means 'suddenly beheading' in Bengali. it features thirteen unnamed people gathering in a mansion filled with archaic objects to celebrate what appears to be a communist revolution. Nothing seems real, roads open up to improbable places, places lead to impossible elevators, elevators lift people to unconvincing roads. Bacchanalian spirit steadily overtakes the initial deadpan seriousness.

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Dieudonné, poet and dreamer, is the opposite of his father, the famous D'Artagnan, as he hates walks and duels.

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