主人公包括梦想上首尔大学却屡次在金牌面前失败的高中举重选手，参加《Show me the money》选秀而制作歌曲名为《这世上不存在》有着当说唱歌手梦想的孩子，还有一个拳击运动员。
简介：Over ten years, the director and photographer Boris Svartzman repeatedly visited the inhabitants of a plot of land in China. The houses and gardens there are in dispute, above all because of their specific location: an island in the Pearl River, in the middle of the megalopolis of Guangzhou. The area is to be transformed into a “nature paradise” with residential estates and parks for the new Chinese middle class. But the people resist. Their homes were destroyed in 2008. Life went on, just in ruins. They were ejected and returned. Life went on, but not necessarily in the new settlements they were given. Their gardens were destroyed. Life went on, in the gardens they rebuilt.
Loud and quiet resistance against the modernisation that’s going on all over the world seems especially dramatic in China. Svartzman captures in detail the co-existence of a modern, Western-inspired lifestyle and ancient traditions and architectures. This turns the life story of the old gentleman who always cordially welcomes the foreign guest like a ghost into a requiem. The West, fixated on cities, Svartzman says, could have learned a lot about “rural democracy” from China – had the Far East not trampled down its rural spaces and people in such a Western fashion.
“And in the darkness, I smile at life.” This sentence, written by Rosa Luxemburg in solitary confinement at the end of 1917, gets to the very heart of what characterises her letters from prison: a shining joie de vivre, regardless of the political situation. Her descriptions of birds, flowers, clouds and colours demonstrate an awareness of nature’s beauty experienced with all the senses. Numerous excerpts from the radical socialist’s lyrical letters in both German and Arabic form the threads running through this essayistic collage. They are joined by modern-day shots of wintry Berlin, a two-person reading in Beirut, archive material from the First World War, a battle song of the labour movement, traces of Nico, Gerhard Richter, Brecht, Breton, voices, sounds, music and the soundless comments of a self. Together, they form a polyphony of visually and acoustically overlapping layers. From this retrospective look at the 20th century, at Germany and the Middle East, at the militant struggles that took place both here and there, emerge personal conclusions as well as the acknowledgement that resistance and beauty can indeed co-exist, not least in dark times.