A man follows a woman through the streets.

These boys know the dual essence of rugby: playing football and sniffing solvent. They tell vampire jokes, rap about river deaths, and dive like jack-knives into the murky water. The cruel irony of the hope these children bring.

2012 film by Khavn De La Cruz

A strange and dysfunctional family sits down three times a day to a meal of soil.

Strikingly captivating and accessible short film by someone who tends to make more experimental and raw films, even though the situation in the film is raw enough as it is. We follow Piling, a young soccer fanatic, through a slum district of Manila. No ball or cleats, but a Coke can and flip-flops are the ingredients for a virtuoso demonstration of the football art. Only at the end does it become apparent why the little ball juggler will never be a Ronaldinho.

Not so much a documentary, nor a compendium of interviews, but an almost rarefied glimpse into a wholesale revolt from a rigid paradigm long upheld by the west as the only way to make a film.

克鲁格与卡文的第二次合作是一次美学混搭。在首次合作的影片《快乐哀叹》中，这两位卓越的导演使用了他们档案中的材料，而《奥菲亚》则有了新的内容，尽管是古典的来源。奥尔菲斯和尤里迪斯的预兆和结局都发生了变化：在卡文和克鲁格那里，奥尔菲斯下到冥界，不仅要解放她的尤里迪科，还要解放整个灭绝的人类。在克鲁格的绿幕工作室和大都市马尼拉之间，把一切都在桌上摆放：里尔克和阿多诺，柴可夫斯基和摇滚，猛犸象和不朽。

他是老大的枪，而她是老大的爱。当杀手恋上烟花女，两人的相遇怎能不迸生激情，腐朽生花？生命在倒数，绝路上狂奔，世界尽头原来离我们这麽近。诗意的镜头，风格化的影像，全片几无对白却寓意丰饶。浅野忠信顶著招牌浅笑饰演面瘫杀手，杜可风的手摇镜头穿街走巷，将这座城市刻画得晕眩而狂欢，滑稽而残忍。诚如杜可风所言：比起叙事电影，这部片更像一张地图。 影片入围2015年台北电影节导演聚焦单元。