一名退休的顶尖以色列特务重操旧业，追缉一位早就死在自己手下的巴勒斯坦激进份子，引发一连串的混乱事件

A colorful extreme display of the Israeli director. Matana MiShamayim is quite different from Kosashvili's "Late Marriage". The primitive traditional family values (Georgian in this case) are brought here some steps beyond to present a comic macabre reality. Women ie. are portrayed in the film as objects to be used in the patriarchal chauvinistic society they live in. They are kidnapped, threatened, locked in a closet and often molested in order to channel shame on their husbands. On the other hand, they are always the center of of attention, encompassing every aspect of desire men have, thus they can control and manipulated men, but only to a certain extent - the head of the family (played by the amazing actor Mony Moshonov).
Actors are doing a great job under Kosashvili's direction, and one can find similarities between him and Kusturica.

毒枭麦可带著年轻貌美的女友莎夏前往土耳其度过豪华假期。一行犯罪家族登陆港边城市，酒池肉林、挥金如土、夜夜笙歌，徜徉在麦可一手打造的极乐天堂中。但，欢娱的背面，也蒙上麦可暴力控制的阴影。当莎夏遇上荷兰帅哥汤玛士，麦可的暗黑性格也逐渐揭露；不可一世的大男人、温驯单纯的小男人以及难以捉摸的美人，一场超越争风吃醋的硬派斗争一触即发。　 瑞典女导演的第一部长片震惊影坛，大胆玩味性别暴力、人格黑暗。镜头语言精准，每一颗都饱含张力，兼具冶豔与紧挑神经的压迫感，捕捉夏日艳丽的氛围，一个瞬间又在缝隙中看见最黑的阴险。

话剧《安魂曲》由《洛希尔的提琴》、《苦恼》、《在峡谷里》这三部契诃夫小说片断改编。
一个马车夫死了儿子，想和什么人诉说胀满心头的悲痛，但是任马车载着南来北往的人们，却怎么也没有人肯听他说，最后只有和自己的马去倾诉，一个老工匠和妻子生活了五十多年，却从来不曾给过她一丁点的关心和注视。一天老太婆感到难受，她的眼神不再温顺怯懦，而是变得古怪。老头知道她不行了，送她去看了乡村医生之后，老太婆还是死了，他才知道自己是那么哀伤，一桶开水被人生生的浇到一个婴儿身上，那年轻的妈妈不过是个十几岁的小姑娘，她抱着自己的孩子去找乡村医生，可孩子还是死了，小妈妈抱着死去的婴儿在漆黑的旷野上走了整整一夜……伤心的亲人们只能在回忆和幻想中寻找到温暖，周而复始的去寻找幸福的生活。似乎在兜圈子，但人们仍然在不停的寻找。