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First it was Man without a Past. It knocked me out. Then I cried with laughter. Please note that I rarely cry at films except for profound love stories set in wartime or movies with animals. This followed by Drifting Clouds, The Match Factory Girl, Ariel and the zany voyages of Leningrad Cowboys. Experiencing cinema should be always radical in the constant change of the perspectives, both optical and cerebral. Aki Kaurismäki’s visual stories involve characters, often with a hard-to-maintain hairdo, facing hardship; minimal language and some technicolor feeling resembling . . .

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