Two stories for the price of one: Lenny works in a video shop and tries to get aquainted with the waitress Lea. Leo beats his pregnant wife, Louise, which is a VERY bad idea, as her brother, Louis, is a violent racist.
Nicolas Winding Refn
Rikke Louise Andersson
A young man who was sentenced to seven years in prison for robbing a post office ends up spending three decades in solitary confinement. During this time, his own personality is supplanted by his alter-ego, Charles Bronson.
Julian, a drug-smuggler thriving in Bangkok's criminal underworld, sees his life get even more complicated when his mother compels him to find and kill whoever is responsible for his brother's recent death.
Nicolas Winding Refn
Kristin Scott Thomas,
Frank is a drug pusher on the roll until he makes a huge deal with dope that he hasn't paid for and he gets busted by the police. He manages to dump the dope in a nearby lake but he owes his supplier a lot of money (not a nice guy to owe money to). Now we follow Frank in his quest to raise money in the underworld of Copenhagen.Written by
S. Lasborg <Lasborg@dk-online.dk>
In the scene, before Frank leaves Milo's bar, you can see a picture of Zeljko Raznatovic - Arkan on the wall. Arkan was a Serbian criminal and later a paramilitary leader, notable for organizing and leading a paramilitary force in the Yugoslav Wars. During Arkan's reign in racketeering business, wall calendars like this one (depicting himself, his wife or Red Star soccer club) were used to show that dues were payed. Zlatko Buric is originally from Croatia, but depicts a Serb in this movie. See more »
When Frank enters the room and sits down next to sleeping Vic, he grabs her left leg and shakes it, but in the following shot, he drops her right leg. See more »
Pusher is a visceral low-budget movie set on the streets of Copenhagen. Though its director Nicholas Winding Refn is not a part of Dogme 95 the film uses many of the Dogme maxims to better effect. The plot is deceptively simple. Frank (Kim Bodnia)is double-crossed on a deal and has a couple of days to make good the covering loan to a sadistic Balkan gangster. The film's speed rhythms convey the nightmare of time running out, luck running out, and life, shot with hand-held camera in natural light going around in circles until suddenly damnation beckons. Tougher than Tarantino or Trainspotting, it pulls no punches and its running gags fail to draw the sting. One of the great city films of the 1990s.
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