Sandro Aguilar

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Hypnotic and multi-layered, Extinction meditates on the troubled borders of Eastern Europe with a melancholy lyricism. Shot in black-and-white, Salomé Lamas's essay film follows Kolya, a young man who is loyal to Transnistria - a Communist state that broke away from the former Moldavian Soviet Socialist Republic, yet is today unrecognized by the international community.

Mediating between dreamlike echoes of the Soviet past and Kolya's politically-charged encounters in the present, the film slowly builds up an associative, non-linear story of a landscape in which the borders between past and present remain unsettled.

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Luís Rovisco is a divorced man about to retire from a security systems company. He lives alone with his cat. Although it may seem difficult to make a film with such material, João Nicolau creates nothing less than a musical on wheels, sung by a non-professional actor and mature debutante. Between absurd situations and a dislocated and impassive humor, the last chance of love passes in front of Luís's eyes while modern security boxes and safety gates turn back on him, in a film in which there is room even to evoke the Spanish band Las Ketchup.