Second feature film by German-Turkish director Thomas Arslan (Ferien, Aus der Ferne), and a rough diamond of the first generation of the so-called ‘Berlin School’. Can is a young and smart upstart; he dreams of a small family but the money that fuels this dream comes from the streets. Can is a dealer, he works for Hakan who is supplying the kids in his neighbourhood with drugs. And while Can struggles to get control over his life he sees his girl friend, the mother of his kid, leaving and himself increasingly surrounded by false friends. On top of it, a cop (Birol Ünel, the male lead from Fatih Akin’s “Gegen die Wand) is on his back trying to persuade Can to work undercover for the police. The more Can attempts to free himself, the deeper he sinks into a life he never aspired to. 　　“Dealer” uses the form of the gangster film for a superb character study of a young man on his way down. It’s a bleak film, as most of the Berlin School films, but Arslan’s precision is astonishing. His framing of the action (or rather non-action) is almost geometrical, Arslan has a keen eye for space – space that is mostly empty in his film. His characers are lost in the city, although they are never alone. Abandoning all conventional mumbo jumbo like character psychology or empathy, “Dealer” remains as erratic as his main protagonist. It was Arslan’s second film of his 'Berin Trilogy' and the first of his films critics described as ‘Bressonian’. It is nothing but true. “Dealer” displays an honesty and depth that is rarely seen in German cinema. Arslan was never this good again.

Second feature film by German-Turkish director Thomas Arslan (Ferien, Aus der Ferne), and a rough diamond of the first generation of the so-called ‘Berlin School’. Can is a young and smart upstart; he dreams of a small family but the money that fuels this dream comes from the streets. Can is a dealer, he works for Hakan who is supplying the kids in his neighbourhood with drugs. And while Can struggles to get control over his life he sees his girl friend, the mother of his kid, leaving and himself increasingly surrounded by false friends. On top of it, a cop (Birol Ünel, the male lead from Fatih Akin’s “Gegen die Wand) is on his back trying to persuade Can to work undercover for the police. The more Can attempts to free himself, the deeper he sinks into a life he never aspired to. 　　“Dealer” uses the form of the gangster film for a superb character study of a young man on his way down. It’s a bleak film, as most of the Berlin School films, but Arslan’s precision is astonishing. His framing of the action (or rather non-action) is almost geometrical, Arslan has a keen eye for space – space that is mostly empty in his film. His characers are lost in the city, although they are never alone. Abandoning all conventional mumbo jumbo like character psychology or empathy, “Dealer” remains as erratic as his main protagonist. It was Arslan’s second film of his 'Berin Trilogy' and the first of his films critics described as ‘Bressonian’. It is nothing but true. “Dealer” displays an honesty and depth that is rarely seen in German cinema. Arslan was never this good again.

故事讲述于佩尔饰演一名为巴黎禁毒小组工作的法语-阿拉伯语翻译。一天她被派遣帮助一个女人陷入困境的儿子，却因此卷入了一场失败的毒品交易，获得了一堆大麻。在坚持与禁毒小队工作的同时，这名翻译悄然走向另一方，成为了知名的毒贩。

故事讲述于佩尔饰演一名为巴黎禁毒小组工作的法语-阿拉伯语翻译。一天她被派遣帮助一个女人陷入困境的儿子，却因此卷入了一场失败的毒品交易，获得了一堆大麻。在坚持与禁毒小队工作的同时，这名翻译悄然走向另一方，成为了知名的毒贩。

14-year old drug dealer Johnny is in a home for young people. When he learns that he cannot go home at weekends any longer, he asks one of his customers, famous successful actor Antony, to be his weekend guardian.

和许多犹太青年一样，萨姆（杰西·艾森伯格 Jesse Eisenberg 饰）的一生几乎都被安排好了，这让毫无悬念的生活令萨姆十分厌倦，家里的每一个人和每一件事都让他感到窒息。邻居齐默曼（贾斯汀·巴萨 Justin Bartha 饰）看出了萨姆的动摇，他主动找到了萨姆，告诉他了一些关于贩毒的消息。 　　齐默曼把萨姆介绍给了毒贩所罗门（丹尼·A·阿贝克恺撒 Danny A. Abeckaser 饰），就这样，萨姆开始了他离经叛道的新生活。很快，萨姆就展现出了聪明伶俐的一面，在业界获得了好评与肯定，与此同时，他和家人之间的嫌隙也越来越大。最终，萨姆被父亲赶出了家门，然而，他并没有因此而产生退却的念头，萨姆的野心最终会将他引导到破灭的境地。