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- Director Mina Keshavarz recently discovered a family secret about her grandmother's death. Her grandmother, forced to marry at a young age, gave birth to seven children and took her own life at the age of 35 during her eighth pregnancy. Domestic violence against women is an impractical concept under Iranian law that regards daughters and wives as the property of patriarchs. Mina sees her grandmother's suicide as "revenge for all injustice" and goes out onto the streets with five female lawyers who have raised their voices on gender equality and criminalization of domestic violence. The Art of Living in Danger retraces the past and present status of Iranian women with the director's intimate voice-over.
- In the early 1940s, strange symptoms appear in the people of Minamata. People are having convulsions all over their bodies and tongues are eventually made mute. The government treated those whose physical functions had collapsed as fake patients and controlled the situation in a political context. Minamata Mandala opens by rebelling against the political solution. There is a man in his nineties who has battled in court for more than twenty years, a medical school professor striving to identify the cause of the disease, and a fisherman providing disease samples for medical examinations. Kazuo Hara does not portray them as a tenacious fighter against political power, a dedicated medical scientist, and a suffering victim. The running-time of 372 minutes embraces their long history of suffering in solidarity as well as embodies the individual lives with distinct personalities.
- School Town King opens with a boy rapping. The 18-year-old Book and 13-year-old Non, living in the slums of Thailand, already know a "life that started from zero". These "slum kids rappers," who dream of becoming the best rappers in Thailand and buying a house for their mother, are struggling to find a way to quit school. They hate studying but what they hate the most is to recite the "12 commandments to be good children" written by the military. Sometimes in quick and sensuous editing, or with a long tracking shot, Dir. Laisuwanchai builds the rhythm of the film, as the boys rap against poverty, inequality, and repressive educational systems. It is a cheerful and harmonious ensemble of kids rappers and a young director.