One morning, a Japanese monk shows up in a village: He does not speak a word, has a head injury and is evidently on the run. Chief Inspector Louise Bonì immediately senses that the young man is in grave danger. However, her supervisor Bermann does not believe her word - because since a deadly use Bonì is psychologically struck and is mainly due to an alcohol problem. Nevertheless, she continues to investigate on her own. The trail leads to a mysterious Zen monastery and a private children's aid organization, which mediates Asian adopted children. Soon Louise awakens a terrible suspicion.

Zen and the Art of Murder

Back on duty after alcohol withdrawal, Commissioner Bonì is investigating the case of a missing student. Eddie, a teenager, found a badly abused young woman in a barn. Now he's dead ...

Hunters in the Night

Hell's Bells is a new feature-length film by John Bock. Developed over the last five years and shot in Germany in 2016, the film is styled as a contemporary Western. It interweaves the familiar story and stock characters of the genre with the theatrical and anarchic mode of Surrealism for which Bock has become known. The story unfolds in a gloomy, nocturnal realm - an indistinct conflation of reality and dream - centering on an unnamed town. Against a backdrop of simultaneous industrialization and grinding poverty, Bock tells the story of a stranger (played by Bibiana Beglau) who arrives in town pursued by mysterious guilt. She is accompanied by a young deaf girl, who emerges gradually as a powerful force - telepathically controlling the course of the story. A conflict develops between two other characters - the local priest (Ulrich Matthes) and a diabolical, dandified villain (Lars Eidinger) who plays with Death in the style of a medieval demon. Each character is revealed to be burdened by a different kind of guilt - stemming variously from the loss of a child, the loss of morality, and the loss of religion.

Hells Bells

Set in a Medieval town, the film has a theatrical quality, as the behaviours and actions of the characters are exaggerated almost to the point of satire. Nevertheless, its relatively dark and heavy plot yields over-the-top expressions from the actors. There is little dialogue as the story opens: a mother is seen tending to her sick daughter, whom she is then told must be sacrificed to the forest. The viewers patiently but curiously watch the mother perform healing rituals with objects like egg shells, dried plants and twigs–also recurring in the installation–until the daughter mysteriously disappears.