Locarno Festival

Camille, a young idealistic photojournalist, goes to the Central African Republic to cover the civil war that is brewing up. What she sees there will change her destiny forever. - By adopting the lead character’s first name for the film’s title, Boris Lojkine’s approach shows all its humility. He applies the same dignified treatment to the tragic fate of a country and its inhabitants as he does to the true story of Camille, a young woman who observes and inhabits the world with rare intensity and tries desperately to account for the conflicts and drama in a Black Africa that the West would rather ignore.

Three people live in a remote Buddhist monastery near Mount Chonan: Hyegok, the old master; Yong Nan, a young man who has left his extended family in the city to seek enlightenment, and an orphan lad Haejin, whom Hyegok has brought to the monastery to raise as a monk. The story is mostly Yong Nan's, told in flashbacks: how he came to the monastery, his brief return to the city, his vacillation between the turbulence of the world and his hope to overcome passions and escape the idea of self. We also see Hyegok as a teacher, a protector, and a father figure, and we watch Haejin make his way as a curious and nearly self-sufficient child.

Although sixteen-year-old Peter would rather lie by the swimming pool watching girls, he instead has to monitor customers in a supermarket to make sure they don't steal anything. He has problems at work, for example when he sees a suspicious customer in a supermarket but doesn't dare to talk to him. At home, he constantly receives teachings from his pedantic father; his girlfriend has laid eyes on someone else. With amateur actors and Jan Nemecek's poetic camera work, young Miloš Forman captures the authenticity of ordinary summer days in a small Czech town in the early 1960s. At the same time he expresses the feelings of awakening rebellion in the youth of the Eastern Bloc, just a few years before the Prague Spring. A seismographic film and a strong contemporary document.

Daniel Blake, 59, who has worked as a joiner most of his life in the North East of England needs help from the State for the first time ever following an illness. He crosses paths with a single mother Katie and her two young children, Daisy and Dylan. Katie’s only chance to escape a one roomed homeless hostel in London is to accept a flat some 300 miles away. Daniel and Katie find themselves in no-man’s land caught on the barbed wire of welfare bureaucracy now played out against the rhetoric of ‘striver and skiver’ in modern day Britain. The film won the Palme d'Or at the 2016 Cannes Film Festival, the Prix du public at the 2016 Locarno International Film Festival and the 2017 BAFTA for Outstanding British Film.

The origins of the Colombian drug trade, through the epic story of an indigenous Wayúu family that becomes involved in the booming business of selling marijuana to American youth in the 1970s. When greed, passion and honour collide, a fratricidal war breaks out that will put their lives, their culture and their ancestral traditions at stake. «A film of both gangsters and spirits. A family film, an ensemble story of strong, intuitive, resilient and powerful women, who wait at home for unconscious, impulsive, fearful men, as they talk, they negotiate, they run around. Intuition vs reason, innocence vs vengeance, word vs honour. All in telling the great tragedy that would curse us forever. The great taboo that we are not allowed to discuss. Told, for once, in an intimate, personal way. Our own way. That soft breeze that seemed to come to refresh, and became the ravaging storm that showed us the true face of capitalism, its purest form. Our Jayeechi, our birdsong.» Cristina Gallego/Ciro Guerra

Grebo and his very pregnant wife Liliane are taking a well-deserved vacation at a popular Adriatic seaside resort. All inclusive! All the sun, swimming and fun that their hearts desire. What could possibly go wrong on such an idyllic holiday? At open-mike night, Grebo seduces the resort crowd and reminds his loving French wife of the Sarajevo rocker she fell in love with. But the evening's big surpise is the young couple's meeting with mysterious Flora. The charismatic young woman will soon put their young marriage to the test. Past secrets cannot stay hidden for long on Love Island.

During World War II, Antonio (Nino Manfredi), Gianni (Vittorio Gassman) and Nicola (Stefania Sandrelli) are activists fighting for Italy's liberation from Nazi occupation. When the war ends and their ideals must change, the three men take different life paths. Antonio and Nicola incorporate their beliefs into adulthood, whereas Gianni takes a more affluent job as a lawyer's assistant. When the group reunites after several decades, their discourse unearths hostility and unsettling realizations.

An ethnographic documentary film in three movements, along the lines of a symphony. The three movements reflect the three differing stages of development co-existing within the mountainous canton. In Göschenen, at the foot of the Gotthard, which straddles Europe’s North-South axis, industrialization took hold long ago, and the mountain farmers of old now work in offices and factories. In the Schächtental, however, the traditional family-centric mountain economy survives. Meanwhile, the village of Bristen in the Maderanertal is in the throes of upheaval: while the traditional farming communities still exist, nigh on 250 inhabitants leave the area daily to go to work or school.

On the way from Berlin to Portugal in her rusty '303' camper van, young biology student Jule picks up hitchhiker Jan. While having intense conversations about the society, the world and the nature of man, they try not to fall in love.

The film that captivated more than 8,000 people on an unforgettable evening in Locarno's Piazza Grande with its cinematic magic and message of peace. In the summer of 1944, a group of residents from their home village of San Miniato in Tuscany secretly sneaked out to meet the American liberators. According to instructions, those who remain behind seek shelter in the church and fall victim to a retaliatory strike by the Germans. The refugees live through all stages of hope and despair along the way in the Tuscan landscape and are confronted with Italian fascists in a legendary sequence. La notte di San Lorenzo is in itself a historical film in the sense that it tells of a bygone era. Through the fairytale-like-mythical and melodramatic exaggerations, the Tavianis make the story stand out from the merely historical and allow the film through the wonderful figure of the girl to acquire universal expressiveness. This is a peace film of elementary sensuality and power.

Gloria is a 58-year-old divorcée. Her children have all left home but she has no desire to spend her days and nights alone. Determined to defy old age and loneliness, she rushes headlong into a whirl of singles’ parties on the hunt for instant gratification – which only leads to repeated disappointment and enduring emptiness. But when Gloria meets Rodolfo, an ex-naval officer seven years her senior, she begins to imagine the possibility of a permanent relationship.

Dima Nikitin is a simple and honest plumber who works in a small Russian town. Except for his unusual integrity, nothing makes him stand out of the crowd, until one night in a dorm mainly occupied by drunkards and outcasts, the pipes burst, endangering the occupants. Everybody needs to be immediately evacuated but nobody cares, so Nikitin sets off on a night-long odyssey to fight an entire system of corrupt bureaucrats.

A film that pays tribute to the history of cinema, via six episodes inspired by the different forms of cinematic art. Each episode has a genre. The first episode could be regarded as a B movie, the kind that Americans used to shoot with their eyes closed and now just can’t shoot anymore. The second episode is a sort of musical with a touch of mystery. The third episode is a spy movie. The fourth episode is difficult to describe. The fifth one is inspired by an old French film. The last one is about some captive women in the 19th century who return from the desert, from the Indians, after many years.

Abu Shadi is a divorced father and a school teacher in his mid-60s living in Nazareth. After his daughter's wedding in one month he will be living alone. Shadi, his architect son, arrives from Rome after years abroad to help his father in hand delivering the wedding invitations to each guest as per local Palestinian custom. As the estranged pair spend the day together, the tense details of their relationship come to a head challenging their fragile and very different lives.

25-year-old Sibel lives with her father and sister in a secluded village in the mountains of Turkey’s Black Sea region. Sibel is a mute, but she communicates by using the ancestral whistled language of the area. Rejected by her fellow villagers, she relentlessly hunts down a wolf that is said to be prowling in the neighbouring forest, sparking off fears and fantasies among the village women. There she crosses path with a fugitive. Injured, threatening and vulnerable, he is the first one to take a fresh look at her.

"Grauzone" is the film by Fredi M. Murer that anticipated the 1980s movement in 1978. A mysterious epidemic haunts Switzerland. The symptoms: a sudden urge to go outside, sudden melancholy, general sensitization. An unintentionally published advertisement informs about the wave of illness and triggers uncertainty, which also penetrates the uniform suburban idyll of Zurich. Julia and her husband Alfred live here, who, in addition to his work as a commercial employee, leads a double life as an eavesdropping specialist and is increasingly plunged into a crisis of meaning.

Alfredo seems to lead the life of so many Ticinese families born in the valleys, who now only go back to their native village for the weekend. But Alfredo doesn’t longer experiences the journey as a form of escapism, but as an obsessive rite which is repeated over and over again. Alfredo has lost his own identity.

In 1988, Chilean military dictator Augusto Pinochet, due to international pressure, is forced to call a plebiscite on his presidency. The country will vote ‘Yes’ or ‘No’ to Pinochet extending his rule for another eight years. Opposition leaders for the ‘No’ vote persuade a brash young advertising executive, Rene Saavedra, to spearhead their campaign. Against all odds, with scant resources and while under scrutiny by the despot’s minions, Saavedra and his team devise an audacious plan to win the election and set Chile free.

El Dorado, a fictional country. Paulo, a poetry-writing intellectual, oscillates between the political extremes. First he devotes himself to the right-wing conservative Diaz, until he sees through the latter’s pseudo-religious fascism. Then he takes the side of Vieira, the populist reformer who wants to free the country of its misery. But Paulo’s true love is for Sara, the communist who works for Vieira. Paulo is forced to realize that both are interested only in power, not in change, and that they are willing to use any means to achieve their end. Disappointed and despairing, he sets off on his own path as a revolutionary, a path on which Sara is no longer able to follow him. He is shot and dies a lonely death, with a gun in his hand, sending a signal for others to take up arms. The lasting relevance of this masterpiece lies in the scene of long agony before Paulo dies. Sara calls out the question to him, “What does your death prove?” And he answers, “The victory of beauty and justice!” Glauber Rocha trusts in culture’s power of survival and connects it with the necessary struggle for social justice.

The film portrays three couples on the eve of Nouruz, the Iranian New Year. Rouhi, a young woman who is about to get married, takes a small job as a cleaner in an apartment in northern Tehran to finance her marriage. When she arrives in that apartment, she finds herself in a heated dispute between Mojdeh and Morteza. Mojdeh suspects her husband Morteza of cheating on her and her neighbour Simin, and obliges Rouhi to shadow them. Rouhi gets more and more between the fronts of the fighting couple.

Ale, a deeply disturbed young man subject to seizures, benignly decides to murder members of his dysfunctional family for altruistic reasons.

1971. Delphine, the daughter of farmers, moves to Paris to break free from the shackles of her family and to gain her financial independence. Carole is a Parisian, living with Manuel, actively involved in the stirrings of the feminist movement. Their encounter turns their lives upside down.

“Höhenfeuer” is both a story of childhood and of a love affair: The deaf-born “Bub” and his sister “Belli” live with their parents on a remote farm in the mountains. The father intentionally resists the modern age: “I'd rather beat him to death than put him in a home”. After school Belli is not only a servant in her own home but also her younger brother's teacher. From early childhood, they have been an inseparable pair. They love one another. “Holy Mother of God, what sort of children have I?” wails the resigned mother, when the two children do things that are not “normal”. This is just the beginning of the story… Had the film been made 100 years ago – it would have been a saga.

The first feature film ever produced in Mail, Baara (The Porter) is about a young man caught in the growing political and economic tensions of urban Africa. Balla Diarra is a worker in the capital city of Bamako who struggles to survive on his meagar income. After his friend is murdered by an unfeeling factory boss, he must confront increasingly violent choices. Set in a modern city rather than a mythical past or traditional village, Baara offers a portrait of African life not often seen on the American screen.

An ageing father waits, in vain, at the bus stop for his son Raghu, a student at the University of Trivandrum, who is supposed to be coming home for the holidays. The elderly Chakyar’s eager happiness slowly turns to disappointment and then anxiety. After several days with no news of Raghu, his family learn that the police have arrested him for singing revolutionary songs at the university’s annual fête. Chakyar goes to the capital, hoping to find support from the Minister of Internal Affairs, and is soon joined by his daughter, who does not, however, share his optimism. When it becomes clear that Raghu cannot escape a jail sentence, the old man gradually loses his reason … In Piravi, Shaji N. Karun denounces not only the corruption that exists within the establishment, but also focuses on the impotence of the individual in the face of an oppressive system. By keeping Raghu off-screen, the director conveys a sense of absence and uncertainty with a rare intensity.

Bernardo Bertolucci was obviously influenced by the films of Jean-Luc Godard and the worldwide political upheavals of 1968 while assembling his feature-film Partner. This unorthodox adaptation of Dostoevsky's The Double studiously avoids traditional linear storytelling and exposition techniques. Pierre Clementi stars as a repressed young student who concocts a radical alter ego for himself. As the student's two faces argue polemics, Bertolucci uses the opportunity to take freewheeling critical potshots at all forms of political ideology. Not all of Partner makes sense, but the film will command the viewer's interest from beginning to end.

While working on a story in the border area, a young journalist discovers a divided town bisected by a river which is also the national frontier. He observes a surreal wedding in which the bride and her family stand on one shore and the groom and his relatives on the other, lost under a cold sky: figure in a landscape who only delude themselves that they are masters of the earth and their destiny The town, a remote ghost town, almost forgotten at the end of the world, has been named «waiting room» by the locals because most of its inhabitants are refugees from different countries many of whom have crossed the border illegally at some time or other and are now waiting for their turn to leave and start life anew «somewhere else.» In the course of his investigation he also comes upon an aging, reclusive refugee, who lives there cultivating a field. But the young journalist believes he is a famous Greek politician who disappeared years before, leaving behind him many unanswered questions. The man's identity is never resolved but the hapless refugees and divided village allow the reporter to understand his despair over the human condition. Theo Angelopoulos weaves yet another poetical allegory on the great open questions of our turbulent age. The film is very contemporary in its treatment of borders, refugees and a changing world since the fall of communism in Eastern Europe and the former Soviet Union. «Being a refugee is an internal condition more than an external one, says one of the characters in the film. And later on he also says, «We've passed the borders but we're still here. How many frontiers do we have to pass to get home?» Do politicians really care? Does anyone? Finally, there is the image of the stranger standing on the bridge poised over the dividing line between the two countries. He has one leg suspended in mid air, like a stork. «If I take one more step I am... somewhere else, or... I die.»

Between the autumn of 1897 and the summer of 1898, four families live together on a farm near Bergamo in the Bassa Bergamasca. Among the members of the community there is a deep spiritual connection that leads them to experience beautiful and tragic things, ordinary moments and extraordinary events together. Two young people court each other and marry; a penniless father secretly cuts down a tree to carve new wooden shoes for his son, who goes to school six kilometres a day; an old man fertilizes his tomatoes with chicken excrement so that they ripen faster. Ermanno Olmi's L'albero degli zoccoli (The Tree of Wooden Clogs) is an almost documentary chronicle of everyday farming life at the end of the penultimate century, epically laid out and following the rhythm of the seasons. Winner of the Palme d’Or Cannes in 1978.

Anberber has studied in Germany and returns post-graduate to Ethiopia. He is full of hope that he can support his country with his newly acquired knowledge. It's a story about hope and disillusionment, about foreignness and homeland.

The Swiss National Association for the Storage of Radioactive Waste plans to build a permanent waste disposal site in Wellenberg, Canton of Nidwalden. A regional citizens’ action group is formed to protest against it. Murer not only interviews supporters and opponents, in particular the Alpine farmers living on the Wellenberg. He starts by raising the question of a time-scale that is out of all proportion to the human lifespan as a measure of time. Fredi Murer dedicated the film to the “children and children’s children”, both of the farmers on the Wellenberg and of all of us. For the first time, Murer deals explicitly with the ‘can-do’ generation that lives and works as though they were the last people on this earth.

Resemblances can be unnerving. Such as the one between the viscount who went, puffing on his pipe, to the guillotine during the Terror, the army chaplain who has a brigand's tattoos on his chest and is a compulsive baptizer of soldiers, pillagers and rapists, the Parisian down-and-out left as flat as a pancake by an encounter with a steamroller, and, last but not least, the cultivated concierge—and occasional arms dealer—in an upscale building. Almost all the film's characters meet in that very building except, of course, the homeless, who are carted by the cops from pillar to post. Yet amid all this chaos, there are dream spaces, love stories and solid friendships that perhaps allow us to hope that tomorrow will be better than today.

This movie gives us a glimpse at life in northern Taiwan. The main person is Kao, a 37-years-old man who has constantly to solve problems created by his younger brother Flat Head and his girlfriend Pretzel. As a non-stop schemer, Kao devises a plan to raise money by trading subsidized pigs to the government for cash. The ruse works, but when the temperamental Flat Head antagonizes the wrong people, the two find themselves caught up in a dangerous game of corrupt politics.

Indochina 1931, the Siam Golf. A small family strives against destitution. The mother realizes that the departure of her two grown children - Joseph 20 and Suzanne 16 - is ineluctable. Deceived by the colonial administration, she invested all of her savings in worthless, regularly flooded farmland. Driven to fight against the corrupted bureaucrats who conned her, she puts into place a crazy scheme: building a dam against the sea with the help of the villagers...

When an African boy arrives by cargo ship in the port city of Le Havre, an aging shoe shiner takes pity on the child and welcomes him into his home.

David Sieveking left home years ago to make films. Now he has returned – and for a reason: To help his mother, Gretel, who has Alzheimer’s, and relieve her long-time carer and his father Malte for a few weeks. The filmmaker takes on the role of carer and documents this encounter with his camera. Gretel no longer knows the people around her, but her puns and charm have not faded. The time spent with his mother becomes a journey into David’s unexpected family history. Once active in Zurich’s left-wing scene, David’s parents enjoyed a lifelong “open relationship”, characterised by a loving distance and mutual respect. VERGISS MEIN NICHT is a film about dementia, but it’s first and foremost a declaration of a love of life and family.

Georg and Anna are around 80, cultivated music professors in retirement. The daughter, also a musician, lives abroad with her family. One day Anna has a seizure - it is the beginning of a test for the love of the two.

In the middle of the Aegean Sea, on a luxury yacht, six men on a fishing trip decide to play a game. During this game, things will be compared, measured and blood will be tested. Friends will become rivals, but at the end of the voyage, when the game is over, the winner will wear the victorious signet ring: the "Chevalier".

After a short investigation, the police concludes that the shot that almost killed justice commissionner Constantino Zegarra was in fact a stray bullet. But Constantino, convinced that someone wants him out of the way, re-opens the investigation. This soon leads him to exceed his own powers to prove he is right.

Claudia, a lonely young woman, works in a supermarket. One night, she ends up in the hospital with a severe case of appendicitis. There, she meets Martha, the woman resting in the bed next to hers. Martha, who lives alone with her four children, gains Claudia's trust. When she gets out of the hospital, she spontaneously offers Claudia to go home with them. Getting to know this family makes Claudia feel at ease. And for the first time she experiences a sense of belonging in this peculiar little tribe. As Martha's health weakens every day the bond Claudia has with each member of the family grows stronger.

An isolated farm in a remote part of the Jura region: this is where Pauline and Alex are living in complete self-sufficient harmony with nature. Their life project is sealed by their love, their ideals and their work. The couple is now ready to take the step towards total independence, and start producing their own electricity. The arrival of Samuel, who comes to install a wind turbine, deeply troubles Pauline, upsetting their relationship and their values.

Five courageous, clever and self-determined women are at the centre of Barbara Miller's documentary #FEMALE PLEASURE. They break the taboo of silence and shame imposed on them by society or their religious communities with their archaic patriarchal structures. Deborah Feldman, Leyla Hussein, Rokudenashiko, Doris Wagner and Vithika Yadav are committed to the sexual enlightenment and self-determination of all women, beyond all social and religious norms and barriers, with incredible positive energy and strength. For this they pay a high price - they are publicly defamed, persecuted and threatened, they are rejected by their former environment and even threatened with death by religious leaders and fanatical believers.

A failed author, a wife in hiding, a clandestine gay IT-specialist meet in an Iraqi café in London. Incited by a radical Sheik, the author's nephew attacks them and turns their lives upside down.

Swiss-Japanese filmmaker Aya Domenig, the granddaughter of a doctor on duty for the Red Cross during the 1945 atomic bombing of Hiroshima, approaches the experience of her deceased grandfather by tracing the lives of a doctor and of former nurses who once shared the same experience. While gathering the memories and present views of these very last survivors, the nuclear disaster in Fukushima strikes and history seems to repeat itself.

Director Sonia Kronlund accompanies the Afghan director, actor and screenwriter Salim Shaheen in her film Nothingwood. He is a well-known figure on the film scene in his home country, but hardly known abroad. About a hundred kilometers away from Kabul, Salim Shaheen comes to show some of his 110 films and to shoot the 111th in the process.

Inspired by the life of Blaze Foley, the unsung songwriting legend of the Texas outlaw music movement that spawned the likes of Merle Haggard and Willie Nelson, Blaze weaves together three different periods of time, braiding re-imagined versions of Blaze’s past, present and future. The different strands explore his love affair with Sybil Rosen; his last, dark night on earth; and the impact his songs and death had on his fans, friends and foes. The braided storyline terminates in an ending that acknowledges Blaze’s profound highs and lows, as well as the impressions he made on the people who shared his journey.

Marcela’s world becomes strange and unfamiliar after her sister Rina dies. She feels lost in her own house, and her relationship with her husband and children seems to suffer. But when Nacho, a young friend of her daughter’s, unexpectedly drops by, she starts to talk and walk with him. Gradually Marcela begins to have conversations with relatives from another dimension.

«Francofonia» by Alexander Sokurow is the story of two remarkable men, Louvre director Jacques Jaujard and Nazi Occupation officer Count Wolff-Metternich - enemies then collaborators - whose alliance would be the driving force behind the preservation of museum treasures. «Francofonia» explores the relationship between art and power, the Louvre museum as a living example of civilization, and what art tells us about ourselves even in the midst of one of the bloodiest conflicts the world has ever seen.

The story of the man who brought high-ranking German Nazi criminal Adolf Eichmann to justice.

They call him "Svet-ake" ("Mr. Light"). The electrician is responsible for bringing more than just light to the people around him. Like moths, everybody is drawn to his kindness: those with short circuits in their electricity, and those with short circuits in their marriage, those who have taken all the power in the city, and those who have given up the will to live. He helps everyone and is everywhere. He doesn't even shy from breaking the law, rewinding an old and lonely pensioner's electricity meter so that he doesn't owe the State, but rather the State owes him. The economic devastation of the country has had an enormous impact on the working people and yet despite the upheaval they have not lost the ability to love, to suffer, to share their lives with friends, and enjoy what they have... in particular our resilient electrician who possesses a wonderful and open heart. He not only brings electric light (which is often out) to the lives of the inhabitants of this village, but he also spreads the light of love, loyalty, life, and most of all, lots of laughter. He only has two dreams: to someday have a son and to provide people with cheaper energy through wind power. Allen nennen ihn nur Svet-Ake (Herr Licht). Er ist der Elektriker des Orts, aber für viel mehr als nur für den Strom zuständig. Die Leute rufen den hilfsbereiten Mann zur Lösung der unterschiedlichsten Probleme, angefangen beim elektrischen Kurzschluss bis hin zum Beziehungskurzschluss. Egal, ob es die sind, die die ganze Energie einer Stadt kontrollieren wollen, oder jene, denen die Energie zum Leben fehlt: Svet-Ake ist immer zur Stelle mit praktischer Hilfe und Rat, auch wenn er manchmal das Gesetz zurechtbiegen muss. Da wird aus schierem Mitleid auch mal ein Stromzähler rückwärts eingestellt, so dass der bedürftige Benutzer statt der hohen Stromrechnung eine Gutschrift vom Elektrizitätswerk ausbezahlt bekommt. Doch Gutherzigkeit wird in einem Land, das mitten im politischen Umbruch steckt, nicht automatisch belohnt. Aktan Arym Kubat beschreibt in «Svet-Ake» auf vergnüglich lockere Art den Alltag im unabhängig gewordenen Kirgisistan und zeigt, indem er die Hauptrolle gleich selber spielt, dass die Menschen auch lernen müssen, mit der Freiheit umzugehen. The country is the midst of a revolution. Power lies in the hands of greed-driven people, obsessed with their personal enrichment. "Svet-ake" is a resistance against this dark madness. He who brings the light, takes it away, leaving the darkness in the dark. Only the light of the dream remains glowing in the night; a candle of a very delicate hope.

Left to fend for herself when her SS officer father and mother, a staunch Nazi believer, are captured by the victorious Allies at the end of World War II, Lore, a fourteen-year-old German girl (striking newcomer Saskia Rosendahl,) must lead her four siblings on a harrowing journey across a devastated country. When she meets the charismatic and mysterious young refugee Thomas, (Kai Malina, The White Ribbon,) Lore soon finds her world shattered by feelings of hatred and desire as she must put her trust in the very person she was always taught to hate in order to survive.

Lucky tells the story of a 90-year-old man (Harry Dean Stanton) and his struggle against encroaching old age. The film depicts his coming to terms with his own mortality, as he searches for enlightenment.

Spira comes home from a juvenile detention center and reconnects with his loved ones in Reboleira (Lisbon), a slum on the verge of being destroyed. Kikas makes it clear that he’s not welcome.