Conrad Weyns

Pelle's father joins an activist group and Pelle has to face up to his father.

Larry likes to look for usable wreckage in a bus graveyard. One day he makes a nasty discovery.

A labor party leader is having an affair with the opposing party's secretary. Unfortunately for them, there seems to be a corpse in their hotel room just as they managed to sneak in unnoticed.

Nine year old Carlos lives in Fogo in Cape Verde with his poor grandmother and some relatives, while his mother has gone to rich Norway to earn money to build a house for them in Fogo. But Carlos is impatiently awaiting his mother.

The Olsen Gang is involved in a weapon trade for half a billion. It's their final coup, and Valborg is finally allowed to participate.

Three people wake up in an apartment at broad daylight, after a heavy party the day before. Christian is a family man and a freelance photographer is waking up in his studio, and his friend Nils, an artist. But who is the girl?

The criminal Tom goes in and out of jail and feels he is getting destructive, where he can't distinguish between love and violence, endearment and toughness nor self realization and self destruction.

Egon Olsen is commissioned to help a baron with an insurance fraud. As the dividend can finance Basse's wedding, even Valborg accepts the plans.

A surreal musical exploring the problems of the multicultural residents in a Notting Hill boarding house.

Frightening events unfold that may or may not be figments of Marigold’s imagination.

Written and co-directed by 18-year-old Tunde Ikoli, this was made, he said, 'to show people what we have to put up with'; and its immediacy in dealing with the repressive influences on teenagers living in the East End of London often compensates for its lack of technical gloss. Particularly effective are a pointless search by goon-like policemen, and a café conversation between Tunde's friends, both of which do more to 'explain' delinquency than all of your glib sociological theorising. Like all neo-realism, Tunde's Film has the authority of performers re-enacting lived experience rather than acting.