The New Country

The New Country

A 15 year old Somalian boy meets a 40 year old Iranian man on a refugee camp in Skåne, in the south of Sweden. With the threat of deportation hanging over them they decide to the take their faiths in their own hands and together they go on a journey in the Swedish summer

  • Rating:
    4.00 out of 5
  • Length:127 minutes
  • Release:2000
  • Language:Swedish,Persian
  • Reference:Imdb
  • Keywords:refugee,   teenager,   african,  

A 15 year old Somalian boy meets a 40 year old Iranian man on a refugee camp in Skåne, in the south of Sweden. With the threat of deportation hanging over them they decide to the take their... . You can read more in Google, Youtube, Wiki


The New Country torrent reviews

Charlie G (ru) wrote: Could be the worst film I've ever seen. The only time I laughed was at an out-take in the credits and I can't even remember what it was. I've never regretted spending my time like this before...

Abb J (es) wrote: Take Shelter: Quiet desperation is the overriding theme in this psychological drama, about a blue collar worker who starts building a storm shelter in his backyard after having dreams of an apocalyptic storm - but are the dreams a vision, or signs of mental illness? Michael Shannon and Jessica Chastain (Celia from "The Help") both deliver Oscar worthy performances. The only weak spot for me was the ending, which felt a bit tacked on. B+

Britany B (ag) wrote: great cast. great film.

Carol G (ca) wrote: Interesting, and I thought the approach worked.

Frank T (it) wrote: No really what was that?

Schmoog L (jp) wrote: This is a great experimental film. It feels like one of those cursed movies you see in horror flicks that would bare some ancient evil incantation that robs viewers of their souls, or something to that effect. It's still a little long to sit through - even at only just over an hour - but worth a watch if you're into unconventional cinema. It's fun to see if you can sit through the opening straight razor-evisceration scene.

Reginald R (jp) wrote: [size=2]Bela Tarr's [b]Damnation[/b] demands a lot from the viewer. There is hardly any story. The film is a slow string of moments - carefully planned long tracking shots - connected by a unifying setting and perspective. Stagnant, slowly panning shots of bleak men and women in a run-down eastern european backdrop. Audio-visually Damnation is excellent. The shots feel more like photographs than like scenes in a movie, the dialogue serving as a lyrical description of each image. A couple of times the text succeeds in this task brilliantly, but a lot of the time the words are not as well written. Motion being so restrained, the role of sound in conveying moods and atmosphere from the screen to the viewer is amplified. Natural sounds - like the sound of rain - are used a lot, but always with a thought. Music is scarce and used with consideration, but is notably good and very fitting, often serving as a wonderful contrast to the film's status quo stagnancy, and in this way lighting up the scenes with enchanting complexity. If all this is sounding pretty good so far, you may well be wondering about the lowish rating. Damnation demands a lot from the viewer, and that means serious business. My predominant thought during the first half of the film was that I've seen all this way too many times in way too many boring films Later on, the film won me over, but there was clearly in the air the chance that it might not have, had the circumstances been less favorable. It's anything but easy getting into the mood Bela Tarr wants you to be in, and sure enough, he offers no shortcuts in this tour into his - rugged, yet beautiful; ordinary, yet strange - world. He makes no pretention of anything new, or different from what you see, being hidden somewhere and served secretly to the pious viewer. What you see is what you get. If you're willing to take the effort, Damnation is a rewarding, thoughtful film that may leave you transfixed if the mood is right. --- [b]Eastern Promises[/b] has enough accurate reviews written about it. It has everything you'd want from a good, harsh yet heartful, russian mafia story. If you didn't know you wanted male nudity, you were wrong as hell. Cronenberg captures a great palette of expressiveness on film from several actors, but foremost from the subdued lead man Viggo Mortensen who gives the most charismatic performance of his career. --- [b]The Soft Skin[/b] is, to me, second rate Truffaut. A very cliched story of middle-aged adultery. Nonetheless, apart from not catching my interest, I can find no flaw in it's execution. --- [b]Stolen Kisses[/b] is just pure trademark light and breezy Truffaut. Jean-Pierre Leaud as Antoine Doinel is now 24 and displays his deadpan charm that shines bright, particularly in the most comedic sequences. A romantic feel-good movie. --- [b]That Night in Varennes[/b] by Ettore Scola is not a recent viewing, but deserves to be rated on account of being excellent. Surprising to see Harvey Keitel in a French-Italian period piece. Marcello Mastroianni is fantastic in his role. Smart text, good plot, gorgeous camerawork. The film is all talk and lots of class, but on no occation does it leave you bored in your seat. I feel bad for not having a better review for a very reviewable film. ---[/size]

William W (it) wrote: Though I love both 'Legend of the Guardians: The Owls of Ga'Hoole' and 'Watchmen', I actually think Snyder's remake of George A. Romero's 'Dawn of the Dead' may be his finest and most personal work of the three. Usually I stay away from contemporary remakes of the classics like the plague, because to me, atmosphere is everything, and today's directors tend to significantly miss that point, but sometimes I just can't stop myself, and it helped that two recent character actors I really respect (fellow Canadian Sarah Polley and Ving Rhames) played significant roles. Though I still prefer the satirical angle on consumerism Romero utilized in his 70's original (and for that reason alone it would make a great double bill with 'Salo, or the 120 Days of Sodom', at least from Pier Paolo Pasolini's philosophical context), this is head and shoulders (shot, of course, so it doesn't come back as a zombie) above other remakes of this era. I wish Snyder still had the sense of hunger that permeates this first film of his (pardon the pun ;) )...

Private U (gb) wrote: One of the best movies I've seen... You can't get out of the theater unaffected!

Rostek P (ag) wrote: Charming, with a terrific performance by Judy Garland, great use of Technicolor and the best possible score (the songs are the best!)... It's THE Christmas movie :)

The Critic (nl) wrote: Despite some inspired gags and slapstick routines, 'Swiss Miss' doesn't quite hit the mark as previous Laurel and Hardy features, and this is primarily because the sub-plot involving feuding married musicians doesn't captivate enough to be fully rewarding.

Jonathan M (nl) wrote: Why the (smurf) was this made?