New Riga Meetings platform welcomes projects including two projects by Finnish film-maker Aku Louhimies.
Janis Nords’ second feature Mother I Love You and Juris Kursietis’ debut Modris were the big winners at the ¨Great Christopher¨ (¨Lielais Kristaps¨) National Film Competition held during the first edition of the Riga International Film Festival (December 2-12).
Nords, who graduated in film directing from the UK’s Nfts, received the top honour of best film as well as the trophy for best feature film director and best actress (for Vita Varpina’s performance as the single mother trying to make ends meet).
On presenting the direction prize to Nords, the competition jury’s chairman, veteran film director Janis Streics, said that he saw “a bright future ahead for Latvian cinema” on the strength of the line-up for this edition of the national film awards.
Mother I Love You, which is handled internationally by New Europe Film Sales, premiered at the...
Janis Nords’ second feature Mother I Love You and Juris Kursietis’ debut Modris were the big winners at the ¨Great Christopher¨ (¨Lielais Kristaps¨) National Film Competition held during the first edition of the Riga International Film Festival (December 2-12).
Nords, who graduated in film directing from the UK’s Nfts, received the top honour of best film as well as the trophy for best feature film director and best actress (for Vita Varpina’s performance as the single mother trying to make ends meet).
On presenting the direction prize to Nords, the competition jury’s chairman, veteran film director Janis Streics, said that he saw “a bright future ahead for Latvian cinema” on the strength of the line-up for this edition of the national film awards.
Mother I Love You, which is handled internationally by New Europe Film Sales, premiered at the...
- 12/12/2014
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Like most 12-year-old boys, Raymond (Kristofers Konovalovs) does not really think before he does things, rather he acts upon naive impulses that seem to be fueled solely by hormones. Raised by a single mother (Vita Varpina) who works as a doctor at a birthing center, Raymond is adequately loved and cared for, so he is not necessarily acting out for attention. She gives Raymond all of the freedom that he desires, which might be a bit too much; but, if anything, Raymond is probably just bored. Raymond spends most of his free time with his best friend, Peteris (Matiss Livcans), a classmate from a less privileged pedigree. When the two boys are together, their decisions grow increasingly reckless. Peteris' mother (Indra Brike) works as a cleaning lady, which gives Peteris uninhibited access into her clients' homes. When Raymond gains possession of a key, he begins to use that client's apartment...
- 1/8/2014
- by Don Simpson
- SmellsLikeScreenSpirit
Mother, I Love You, Latvia's Submission for the Academy Award Nomination for Best Foreign Language Film. U.S. : None Yet. International Sales Agent: New Europe Film Sales
Once settled into the routine of adulthood and all the burdens it entails, the memories of what it means to be a kid rapidly vanish. Perhaps it is not childhood itself that is forgotten, but the decision-making process that seemed logical back then, may now appear absurd. In touch with those youngster concerns, Janis Nords’ touching feature Mother, I Love You is a cross breed between the preteen rebelliousness of both Truffaut’s iconic The 400 Blows and the more recent work from the Dardennes The Kid with a Bike. For all the similarities with the preceding films, there is something amusingly original and emotionally profound here, the stakes are higher and the leading character is layered with moral dilemmas not often associated with kids that age in film.
Saxophonist by day and troublemaker by choice, Raimonds (Kristofers Konovalovs) is a 12-year-old kid who tends to misbehave and who solves problems with solutions on the mischievous side. Starting to be curious about the opposite sex, he plays pranks on the girls in his class and with the help of his best bud Peteris (Matiss Livcans), they skip school and pass the time dreaming up ways to have fun without being caught by their respective mothers. Unfortunately for Raimonds, his plans are cut short as he weaves a string of lies and minor crimes from which he can’t seem to escape. Nords' premise could be described as the literal cinematic depiction of the phrase “rob Peter to pay Paul'. It is apparent that Raimonds' focus is not on the consequences of his acts in the practical sense (going to prison, getting expelled), but rather on his mother will perceive them.
At the core of the film is the rocky relationship Raimonds has with his hardworking mother (Vita Varpina). She demands his good behavior as a way to show her he appreciates the long hours she labors at the hospital to provide for him. But when a negative conduct report is issued for his mother to sign, Raimonds’ plan to keep it hidden escalates into an even bigger ordeal. Additionally, the boys decide to play around in the wealthy apartment Preteris’ mother cleans for a living. Their recurrent escapades lead Raimond into risky situations including losing his valuable instrument right before a school concert, stealing to recover it, betraying his comrade, and disappointing his mother. Wiser after going through it all, he eventually realizes that running from his mistakes will only cause more damage.
Newcomer Kristofers Konovalovs carries the film with a performance of remarkable assertiveness even as his sketchy castle of lies begins to fall apart. On the other hand the young actor displays such a pure naiveté that the audience understands implicitly that his unsuccessful choices and lack of judgment are always aimed at fixing things without troubling the person he loves the most. The rest of the cast, specially Vita Varpina as Raimonds' only parent, also achieve a naturalism portraying these everyday characters whose lives, by the power of film, suddenly become interesting and relevant.
Impressively heartfelt and intimate, Mother, I Love You, is in essence an opportunity to reconnect with that boy or girl everyone was once. Nords brilliantly directs his lead actor to ensure his behavior and moral compass are aligned with his age. The motivations behind what he does aren’t derived from wanting to be bad, but instead from wanting to be good while still being a kid. Combined with this, the alluring beauty of the cinematography creates something special and more stylized than mere cinema verite. These conscious choices by the filmmaker make the film stand out in a crowded field of similar works and also render it oddly relatable. After all, who didn’t break mom’s favorite flower vase at some time and was scared of what she might think or do. In the most irrational way, the underlining concern is to still be loved and know one will be forgiven. Nords captures such state with pragmatic tenderness.
Read more about all the 76 Best Foreign Language Film Submission for the 2014 Academy Awards...
Once settled into the routine of adulthood and all the burdens it entails, the memories of what it means to be a kid rapidly vanish. Perhaps it is not childhood itself that is forgotten, but the decision-making process that seemed logical back then, may now appear absurd. In touch with those youngster concerns, Janis Nords’ touching feature Mother, I Love You is a cross breed between the preteen rebelliousness of both Truffaut’s iconic The 400 Blows and the more recent work from the Dardennes The Kid with a Bike. For all the similarities with the preceding films, there is something amusingly original and emotionally profound here, the stakes are higher and the leading character is layered with moral dilemmas not often associated with kids that age in film.
Saxophonist by day and troublemaker by choice, Raimonds (Kristofers Konovalovs) is a 12-year-old kid who tends to misbehave and who solves problems with solutions on the mischievous side. Starting to be curious about the opposite sex, he plays pranks on the girls in his class and with the help of his best bud Peteris (Matiss Livcans), they skip school and pass the time dreaming up ways to have fun without being caught by their respective mothers. Unfortunately for Raimonds, his plans are cut short as he weaves a string of lies and minor crimes from which he can’t seem to escape. Nords' premise could be described as the literal cinematic depiction of the phrase “rob Peter to pay Paul'. It is apparent that Raimonds' focus is not on the consequences of his acts in the practical sense (going to prison, getting expelled), but rather on his mother will perceive them.
At the core of the film is the rocky relationship Raimonds has with his hardworking mother (Vita Varpina). She demands his good behavior as a way to show her he appreciates the long hours she labors at the hospital to provide for him. But when a negative conduct report is issued for his mother to sign, Raimonds’ plan to keep it hidden escalates into an even bigger ordeal. Additionally, the boys decide to play around in the wealthy apartment Preteris’ mother cleans for a living. Their recurrent escapades lead Raimond into risky situations including losing his valuable instrument right before a school concert, stealing to recover it, betraying his comrade, and disappointing his mother. Wiser after going through it all, he eventually realizes that running from his mistakes will only cause more damage.
Newcomer Kristofers Konovalovs carries the film with a performance of remarkable assertiveness even as his sketchy castle of lies begins to fall apart. On the other hand the young actor displays such a pure naiveté that the audience understands implicitly that his unsuccessful choices and lack of judgment are always aimed at fixing things without troubling the person he loves the most. The rest of the cast, specially Vita Varpina as Raimonds' only parent, also achieve a naturalism portraying these everyday characters whose lives, by the power of film, suddenly become interesting and relevant.
Impressively heartfelt and intimate, Mother, I Love You, is in essence an opportunity to reconnect with that boy or girl everyone was once. Nords brilliantly directs his lead actor to ensure his behavior and moral compass are aligned with his age. The motivations behind what he does aren’t derived from wanting to be bad, but instead from wanting to be good while still being a kid. Combined with this, the alluring beauty of the cinematography creates something special and more stylized than mere cinema verite. These conscious choices by the filmmaker make the film stand out in a crowded field of similar works and also render it oddly relatable. After all, who didn’t break mom’s favorite flower vase at some time and was scared of what she might think or do. In the most irrational way, the underlining concern is to still be loved and know one will be forgiven. Nords captures such state with pragmatic tenderness.
Read more about all the 76 Best Foreign Language Film Submission for the 2014 Academy Awards...
- 11/26/2013
- by Carlos Aguilar
- Sydney's Buzz
Not many films get made in Latvia every year, so the chance to see one is a rarity and with a film like “Mother, I Love You” (“Mammu, es Tevi milu”), it’s also a treat. Directed by Janis Nords, the film tells a fairly simple story in a very sophisticated way, proving the too-often forgotten truth that with good cinematic storytelling any tale can be tense, suspenseful and emotional. The winner of an award in the Generation category (the youth section) at the 2013 Berlin Film Festival, “Mother, I Love You” captures all of the drama and desperation of a young boy caught in a difficult situation from his unique perspective.Raimonds (Kristofers Konovalovs) is a young boy living with his single obstetrician mother (Vita Varpina) in Riga. He scooters to school, plays saxophone in the band and plays Wii at home when his mother heads out late at night.
- 6/18/2013
- by Katie Walsh
- The Playlist
Films from Poland, Romania and Slovenia will screen in the 2013 Berlinale Official Competition. The Official Competition, Panorama, Forum and Generation sections have also selected films from Turkey, Georgia, Austria, Croatia, Czech Republic and Latvia.
The Polish director Małgośka Szumowska returns to the Berlinale after Elles (2012), starring Juliette Binoche, with W imię... /In the Name of, selected for the Official Competition. The film is produced by Mental Disorder 4 in coproduction with Canal +, and it follows Father Adam who takes over a small parish in the middle of nowhere and has to confront a long forgotten burden and passion. The main characters are played by Andrzej Chyra and Mateusz Kościukieiwcz. Memento Films is the sales agent.
Danis Tanovic makes his entrance in the Official Competition of the Berlinale with Epizoda u životu berača željeza/An Episode in the Life of an Iron Picker, the story of a 31 year old woman pregnant with her third child who needs emergency surgery, but has no health inssurance. The film is a coproduction between Bosnia and Herzegovina, France and Slovenia, involving Pro.ba, Emotionfilm and Asap Film France. The cast includes Senada Alimanovic, Nazif Mujic, Sandra Mujic, and Semsa Mujic.
This is also the first Berlinale for the Romanian director Călin Peter Netzer, who screens in the Official Competition with Poziţia copilului/Child's Pose, a mixture of drama, emotion and humour about the relationship between an overbearing mother and her adult son. Răzvan Rădulescu and Călin Peter Netzer wrote the script and the main characters are played by Luminiţa Gheorghiu (Moartea domnului Lăzărescu/The Death of Mr. Lăzărescu) and Bogdan Dumitrache (Cu cele mai bune intenţii/Best Intentions). Child's Pose is a 100% Romanian production between Parada Film and HaiHui Entertainment.
After travelling with the first two parts of his Paradise film trilogy to Cannes and Venice, ground-breaking Austrian director Ulrich Seidl is a newcomer to the Berlinale where the third film in the series is to be screened in the Official Competition. Paradies: Hoffnung/Paradise: Hope is a coproduction between Ulrich Seidl Film Produktion GmbH (Austria, www.ulrichseidl.com), Tatfilm (Germany, www.tatfilm.de) and Société Parisienne de Production ( France, www.coproductionoffice.eu).
Georgia sends two films to Berlin. On 7 February, the Panorama’s main programme will openwith the GeorgianChemi Sabnis Naketsi/A Fold in My Blanket by Zaza Rusadze. Produced by director’s production companyZazarfilm with the support of the Georgian National Film Centre, the film tells the story of a young man returning to his home town after studying abroad. Tornike Bziava, Tornike Gogrichiani, and Zura Kipshidze are the main actors. Media Luna New Films is the sales agent.
A Georgian-German coproduction will be screened in Forum. Grzeli nateli dgeebi/In Bloom, the first feature by Nana Ekvtimishvili and Simon Groß, is focusing on two young female friends in a country marked by civil war and poverty in 1992.
Two Turkish films were also selected for Panorama. Asli Ozge's Hayatboyu/Lifelong is a Turkish-German-Dutch coproduction between Razor Film Produktion, Augustus Film, Kaliber Film, Bulut Filmand, and Soda Media. The cast includes Defne Halman, Haka Cimenser, and Gizem Akman. Uğur Yücel's Soğuk/Cold is a 100% Turkish production starring Cenk Alibeyoğlu, A. Rıfat Şungar, and Valeria Skorohodova.
Croatia is also represented with two films selected for the Forum section. Krugovi/Circles Srdan Golubović’s drama of three parallel stories about heroism is produced by the Serbian company Bas Celik and the German company Neue Mediopolis Filmproduktion, in coproduction with the Slovenian company Vertigo/E-motion Film, the Croatian company Propeler Film and the French company La Cinefacture.
Another Croatian coproduction, this time with Bosnia and Herzegovina, was also selected in Forum. The story from Obrana i zaštita/A Stranger aka The Bridge, written and directed by the acclaimed theatre and film director Bobo Jelčić, is set in Mostar, a town still divided into the Croatian and the Bosnian side 20 years after the war. The film is a tale about prejudice, human weaknesses and conflict between the individual and the society played by: Bogdan Diklić, Nada Đurevska, Ivana Roščić, and Izudin Bajrović. The project involves Spiritus Movens, Produkcija Kadar and Croatian Radio and Television.
Two Austrian films will be shown in the Forum section, beginning with the world premiere of Gustav Deutsch's Shirley – Visions of Reality. This Austrian production of Kgp Kranzelbinder Gabriele Production uses 13 cinematically vivified paintings by Edward Hopper in order to tell the story of a woman who lives in a reality she sees as a made up construct. The cast includes Stephanie Cumming, Christoph Bach, and Florentin Groll.
Die 727 Tage ohne Karamo/The 727 Days without Karamo by Anja Salomonowitz (also in Forum) is a documentary experiment of 21 binational couples sharing personal moments of their love stories, forming one complete story of how love can rise above the written law. The 80 minite film is produced by Amour Fou Vienna.
The German-Polish coproduction Sieniawka by Marcin Malaszczak, screening in Forum, is a lyrical portrait of post-socialist reality between Poland, the Czech Republic and Germany, conceived of as a mix of fictional staging and documentary representation of a dilapidated mental asylum and a landscape scarred by coal mining
Reha Erdem's Jîn (Turkey), selected in Generation 14plus, sees the war between guerrillas and the army in Kurdish areas in Turkey through the eyes of a 17 year old girl, a young fighter (played by Deniz Hasgüler). The film is produced by Ömer Atay through Atlantik Film.
Kasia Rosłaniec's Baby Blues (Poland), will have its European premiere in Generation 14plus. After Mall Girls, Kasia Rosłaniec made a teenage mother’s tour de force through a world of daily chores, nappies fashion and drugs. Zentropa International Poland is producing.
Mammu, es Tevi mīlu/Mother, I Love You by the Latvian director Jānis Nords, selected in Generation Kplus, is the touching story of a misunderstood adolescent who tries to negociate his relationship with his mother while delving into the world of the petty crime. The film is produced by Tanka ( alise@tanka.lv) and stars Kristofers Konovalovs, Vita Varpina, and Matiss Livcans.
Cee Films At The Berlinale:
Official Competition:
W imię... /In the Name of by Małgośka Szumowska (Poland)
Epizoda u životu berača željeza/An Episode in the Life of an Iron Picker by Danis Tanovic (Bosnia and Herzegovina-France -Slovenia)
Poziţia copilului/Child's Pose by Călin Peter Netzer (Romania)
Paradies: Hoffnung/Paradise: Hope by Ulrich Seidl (Austria-Germany-France)
Panorama:
Chemi Sabnis Naketsi/A Fold in My Blanket by Zaza Rusadze (Georgia)
Hayatboyu/Lifelong by Asli Ozge (Turkey-Germany)
Soğuk/Cold by Uğur Yücel (Turkey)
Forum:
Grzeli nateli dgeebi/In Bloom by Nana Ekvtimishvili and Simon Groß (Georgia-Germany)
Krugovi/Circles by Srdan Golubović (Serbia-Germany-Slovenia-Croatia-France)
Obrana i zaštita/A Stranger by Bobo Jelčić (Croatia – Bosnia and Herzegovina)
Shirley – Visions of Reality by Gustav Deutsch (Austria)
Die 727 Tage ohne Karamo/The 727 Days without Karamo by Anja Salomonowitz (Austria)
Sieniawka by Marcin Malaszczak (Germany-Poland)
Generation 14plus:
Jîn by Reha Erdem (Turkey)
Baby Blues by Kasia Rosłaniec (Poland)
Generation Kplus:
Mammu, es Tevi mīlu/Mother, I Love You by Jānis Nords (Latvia)...
The Polish director Małgośka Szumowska returns to the Berlinale after Elles (2012), starring Juliette Binoche, with W imię... /In the Name of, selected for the Official Competition. The film is produced by Mental Disorder 4 in coproduction with Canal +, and it follows Father Adam who takes over a small parish in the middle of nowhere and has to confront a long forgotten burden and passion. The main characters are played by Andrzej Chyra and Mateusz Kościukieiwcz. Memento Films is the sales agent.
Danis Tanovic makes his entrance in the Official Competition of the Berlinale with Epizoda u životu berača željeza/An Episode in the Life of an Iron Picker, the story of a 31 year old woman pregnant with her third child who needs emergency surgery, but has no health inssurance. The film is a coproduction between Bosnia and Herzegovina, France and Slovenia, involving Pro.ba, Emotionfilm and Asap Film France. The cast includes Senada Alimanovic, Nazif Mujic, Sandra Mujic, and Semsa Mujic.
This is also the first Berlinale for the Romanian director Călin Peter Netzer, who screens in the Official Competition with Poziţia copilului/Child's Pose, a mixture of drama, emotion and humour about the relationship between an overbearing mother and her adult son. Răzvan Rădulescu and Călin Peter Netzer wrote the script and the main characters are played by Luminiţa Gheorghiu (Moartea domnului Lăzărescu/The Death of Mr. Lăzărescu) and Bogdan Dumitrache (Cu cele mai bune intenţii/Best Intentions). Child's Pose is a 100% Romanian production between Parada Film and HaiHui Entertainment.
After travelling with the first two parts of his Paradise film trilogy to Cannes and Venice, ground-breaking Austrian director Ulrich Seidl is a newcomer to the Berlinale where the third film in the series is to be screened in the Official Competition. Paradies: Hoffnung/Paradise: Hope is a coproduction between Ulrich Seidl Film Produktion GmbH (Austria, www.ulrichseidl.com), Tatfilm (Germany, www.tatfilm.de) and Société Parisienne de Production ( France, www.coproductionoffice.eu).
Georgia sends two films to Berlin. On 7 February, the Panorama’s main programme will openwith the GeorgianChemi Sabnis Naketsi/A Fold in My Blanket by Zaza Rusadze. Produced by director’s production companyZazarfilm with the support of the Georgian National Film Centre, the film tells the story of a young man returning to his home town after studying abroad. Tornike Bziava, Tornike Gogrichiani, and Zura Kipshidze are the main actors. Media Luna New Films is the sales agent.
A Georgian-German coproduction will be screened in Forum. Grzeli nateli dgeebi/In Bloom, the first feature by Nana Ekvtimishvili and Simon Groß, is focusing on two young female friends in a country marked by civil war and poverty in 1992.
Two Turkish films were also selected for Panorama. Asli Ozge's Hayatboyu/Lifelong is a Turkish-German-Dutch coproduction between Razor Film Produktion, Augustus Film, Kaliber Film, Bulut Filmand, and Soda Media. The cast includes Defne Halman, Haka Cimenser, and Gizem Akman. Uğur Yücel's Soğuk/Cold is a 100% Turkish production starring Cenk Alibeyoğlu, A. Rıfat Şungar, and Valeria Skorohodova.
Croatia is also represented with two films selected for the Forum section. Krugovi/Circles Srdan Golubović’s drama of three parallel stories about heroism is produced by the Serbian company Bas Celik and the German company Neue Mediopolis Filmproduktion, in coproduction with the Slovenian company Vertigo/E-motion Film, the Croatian company Propeler Film and the French company La Cinefacture.
Another Croatian coproduction, this time with Bosnia and Herzegovina, was also selected in Forum. The story from Obrana i zaštita/A Stranger aka The Bridge, written and directed by the acclaimed theatre and film director Bobo Jelčić, is set in Mostar, a town still divided into the Croatian and the Bosnian side 20 years after the war. The film is a tale about prejudice, human weaknesses and conflict between the individual and the society played by: Bogdan Diklić, Nada Đurevska, Ivana Roščić, and Izudin Bajrović. The project involves Spiritus Movens, Produkcija Kadar and Croatian Radio and Television.
Two Austrian films will be shown in the Forum section, beginning with the world premiere of Gustav Deutsch's Shirley – Visions of Reality. This Austrian production of Kgp Kranzelbinder Gabriele Production uses 13 cinematically vivified paintings by Edward Hopper in order to tell the story of a woman who lives in a reality she sees as a made up construct. The cast includes Stephanie Cumming, Christoph Bach, and Florentin Groll.
Die 727 Tage ohne Karamo/The 727 Days without Karamo by Anja Salomonowitz (also in Forum) is a documentary experiment of 21 binational couples sharing personal moments of their love stories, forming one complete story of how love can rise above the written law. The 80 minite film is produced by Amour Fou Vienna.
The German-Polish coproduction Sieniawka by Marcin Malaszczak, screening in Forum, is a lyrical portrait of post-socialist reality between Poland, the Czech Republic and Germany, conceived of as a mix of fictional staging and documentary representation of a dilapidated mental asylum and a landscape scarred by coal mining
Reha Erdem's Jîn (Turkey), selected in Generation 14plus, sees the war between guerrillas and the army in Kurdish areas in Turkey through the eyes of a 17 year old girl, a young fighter (played by Deniz Hasgüler). The film is produced by Ömer Atay through Atlantik Film.
Kasia Rosłaniec's Baby Blues (Poland), will have its European premiere in Generation 14plus. After Mall Girls, Kasia Rosłaniec made a teenage mother’s tour de force through a world of daily chores, nappies fashion and drugs. Zentropa International Poland is producing.
Mammu, es Tevi mīlu/Mother, I Love You by the Latvian director Jānis Nords, selected in Generation Kplus, is the touching story of a misunderstood adolescent who tries to negociate his relationship with his mother while delving into the world of the petty crime. The film is produced by Tanka ( alise@tanka.lv) and stars Kristofers Konovalovs, Vita Varpina, and Matiss Livcans.
Cee Films At The Berlinale:
Official Competition:
W imię... /In the Name of by Małgośka Szumowska (Poland)
Epizoda u životu berača željeza/An Episode in the Life of an Iron Picker by Danis Tanovic (Bosnia and Herzegovina-France -Slovenia)
Poziţia copilului/Child's Pose by Călin Peter Netzer (Romania)
Paradies: Hoffnung/Paradise: Hope by Ulrich Seidl (Austria-Germany-France)
Panorama:
Chemi Sabnis Naketsi/A Fold in My Blanket by Zaza Rusadze (Georgia)
Hayatboyu/Lifelong by Asli Ozge (Turkey-Germany)
Soğuk/Cold by Uğur Yücel (Turkey)
Forum:
Grzeli nateli dgeebi/In Bloom by Nana Ekvtimishvili and Simon Groß (Georgia-Germany)
Krugovi/Circles by Srdan Golubović (Serbia-Germany-Slovenia-Croatia-France)
Obrana i zaštita/A Stranger by Bobo Jelčić (Croatia – Bosnia and Herzegovina)
Shirley – Visions of Reality by Gustav Deutsch (Austria)
Die 727 Tage ohne Karamo/The 727 Days without Karamo by Anja Salomonowitz (Austria)
Sieniawka by Marcin Malaszczak (Germany-Poland)
Generation 14plus:
Jîn by Reha Erdem (Turkey)
Baby Blues by Kasia Rosłaniec (Poland)
Generation Kplus:
Mammu, es Tevi mīlu/Mother, I Love You by Jānis Nords (Latvia)...
- 2/12/2013
- by Iulia Blaga
- Sydney's Buzz
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