"The Smell of Burning Ants" looks at the underbelly of what it calls "male socialization and boyhood cruelty." At one point the narrator says that boys "become boys, in large part, by not being girls. The ones who don't figure this out are the same ones who get beat up." One of the problems that the film is probing is the vacuum of clear social edification; boys get their identity through social cues which are mediated with large distortion. Men who are already fragmented find themselves inexplicably angry, unable to cope with a mechanized society that pigeonholes masculinity as automated and repetitive violence (verbal and physical). The anger gets loosed on the family, and the children internalize this as both being directed toward them and a pattern to mimic. Masculinity is a poisoned bloodline but is the only one transmitted. Boys must reject the creative anima in place of loyalty. If there is a social genealogy the film tracks then it is sired by brute strength and alienation. 　　A lot of the footage is found footage, but it is cut and manipulated enough (optical printing, slowed framerate) that it feels like fiction rather than a documentary. It's a highly charged fiction though, given a haunting soundtrack and a narrative voice that lisps just enough to undercut the seriousness of the tone. It teeters between art and melodrama. It's my favorite Rosenblatt of the bunch I've seen and should get a receptive audience at kg.

"The Smell of Burning Ants" looks at the underbelly of what it calls "male socialization and boyhood cruelty." At one point the narrator says that boys "become boys, in large part, by not being girls. The ones who don't figure this out are the same ones who get beat up." One of the problems that the film is probing is the vacuum of clear social edification; boys get their identity through social cues which are mediated with large distortion. Men who are already fragmented find themselves inexplicably angry, unable to cope with a mechanized society that pigeonholes masculinity as automated and repetitive violence (verbal and physical). The anger gets loosed on the family, and the children internalize this as both being directed toward them and a pattern to mimic. Masculinity is a poisoned bloodline but is the only one transmitted. Boys must reject the creative anima in place of loyalty. If there is a social genealogy the film tracks then it is sired by brute strength and alienation. 　　A lot of the footage is found footage, but it is cut and manipulated enough (optical printing, slowed framerate) that it feels like fiction rather than a documentary. It's a highly charged fiction though, given a haunting soundtrack and a narrative voice that lisps just enough to undercut the seriousness of the tone. It teeters between art and melodrama. It's my favorite Rosenblatt of the bunch I've seen and should get a receptive audience at kg.

讲述了五只蚂蚁因为各种缘由入坑股市，他们一起参与神秘股市聚会，通过股票领悟到人生、友谊、爱情的human喜剧故事。

“我们的记忆中充满了不同的味道。让我们回到第一次见面的那一天，好吗？”对于两位女孩来说，这是一次新鲜的冒险。她们决定深入记忆，寻找那些气味。通过照片、音乐和对话在这个时长两分钟的混合了图片与影像的风格之作中讲述她们的爱情故事。

90年代當紅搖滾樂團「她好樣的」主唱貝琪，每次開唱粉絲都把體育館塞爆。她瘋狂、熱情，卻又有著無法掌控的自我毀滅特質。隨著樂團名氣起起伏伏，貝琪與團員、母親、男友和女兒之間的距離也忽遠忽近。她要帶領樂團走向成功，得先設法馴服自己躁動不安的靈魂。

90年代當紅搖滾樂團「她好樣的」主唱貝琪，每次開唱粉絲都把體育館塞爆。她瘋狂、熱情，卻又有著無法掌控的自我毀滅特質。隨著樂團名氣起起伏伏，貝琪與團員、母親、男友和女兒之間的距離也忽遠忽近。她要帶領樂團走向成功，得先設法馴服自己躁動不安的靈魂。

故事发生在1965年的斯德哥尔摩，一场舞会上，年轻的少校尼尔斯（萨穆埃尔·弗洛勒 Samuel Fröler 饰）邂逅了名叫安娜（特赖恩·帕里森 Trine Pallesen 饰）的女子，两人之间燃起了熊熊的爱火，为了能够和安娜待在一起，尼尔斯不惜违抗了军令，偷偷将安娜带回军营，最终，这一举动被长官发现了，尼尔斯一怒之下带着安娜离开了部队，两人几经辗转来到了一座位于哥斯达黎加的温暖小岛上。 　　尼尔斯对植物有着非常强烈的兴趣，这座宛如世外桃源一般的岛屿恰恰好满足了尼尔斯的所有要求，尼尔斯和安娜在这里开始了仿佛亚当和夏娃一样的自由生活。没过多久，两人就发现，住在这座岛上的，还有一群淳朴善良的土著，然而，岛上小镇里的哥斯达黎加人却对这群原住民进行了残酷的迫害。

This military drama weaves together the diaries and memories of North Vietnamese soldiers who fought in the ferocious 1972 battle of Quang Tri.

10岁的西奥在当地的一个足球俱乐部踢球，他有足够的天赋成为一个职业运动员。但是自从他的父亲开始酗酒并离婚后，生活开始变样了。而当他看着他的父亲慢慢地摧毁自己的生命时，他感到无能为力和焦虑，但他拒绝放弃父亲。当一个著名的英国俱乐部的招聘人员注意到他时，西奥看到了重新点燃他父亲希望的机会，但尽管他付出了所有努力，遗憾的是他没有被选中。所以他决定撒谎，希望让父亲高兴和自豪，改变父子关系的同时也让父亲重拾生活的信心并找到新的未来方向。

10岁的西奥在当地的一个足球俱乐部踢球，他有足够的天赋成为一个职业运动员。但是自从他的父亲开始酗酒并离婚后，生活开始变样了。而当他看着他的父亲慢慢地摧毁自己的生命时，他感到无能为力和焦虑，但他拒绝放弃父亲。当一个著名的英国俱乐部的招聘人员注意到他时，西奥看到了重新点燃他父亲希望的机会，但尽管他付出了所有努力，遗憾的是他没有被选中。所以他决定撒谎，希望让父亲高兴和自豪，改变父子关系的同时也让父亲重拾生活的信心并找到新的未来方向。