Slow pace in the most part of the movie.

Yes, absolutely, there is fun to be had, as well as many, many things to go boom, all amid an atmospheric urban jungle.

It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.

This movie feels like it was made purely to piss off people who want good shows

Acclaimed Norwegian film maker Margreth Olin's fourth documentary feature is about the Norwegian government's treatment of sole minor asylum seekers, or rather the rule that they are to be sent back just when turning 18, which makes them responsible for their own life. Olin has made a very important movie, where she does not in any way hide that she takes the children's party. She follows several of these kids, until the day they turn 18 and is no longer free to stay in Norway, the world's richest country according to UN surveys.These kids are orphans which their country of origin won't take responsibility for, and which are kept in asylum camps in Norway, not attended by child care, but special asylum institutions. Except for the uncertainties they feel there, they are treated well, until they turn 18. Then they are to be sent back to their country of origin, as adults, expecting to be killed, as they think themselves. It's a desperate situation, and Olin follows some of them after they are transported out of Norway. Olin takes more responsibility than any other for these kids. No doubt she us very angry here, still making a very profoundly deep and heart wrenching film about kids with no obvious future.The kids come from Afghanistan, Tibet, Iran, Iraq, Kurdistan in Turkey and a lot of African countries. Olin still shows how some of the kids are not treated with the love they should, when it comes to medical and psychological treatment after war traumas in their home country.I'm simply horrific what Olin unveils here. The evidence I strong, and the treatment is completely horrific. It's shameful to watch, and makes me ashamed of my country. Still this is taking place in many more countries than Norway. In some countries they won't be let in even as 13 or 15 year olds. This is all a clear breach on UN's child rights convention. Great cinematography by cinematographer Øystein Mamen and a narrative and interviewing voice of Margareth Olin tells the story, leaning all on the boys telling how they are treated, both in Norway, and when being sent back via Greece and Turkey. Olin is on their tail, documenting what happens to some if them.Once again Olin has made a strong, important documentary, which I hope will be a reason for changes. It's gloomy, of course, this film, not giving much hope, but still it's so important that film makers do these kinds of things. Kudos to Olin, once more.

Norwegian screenwriter, producer and director Margreth Olin's fourth documentary feature which she wrote and produced, premiered in the Checkpoints section at the 13th Bergen International Film Festival in 2012, was shot on locations in Norway, Greece and Kurdistan and is a Norwegian production. It tells the story about many of those 17-year-old and 16-year-old immigrants from countries of war who are living in Norway and who due to constriction-measures which the Norwegian government presented in 2009 to reduce the increasing amount of immigrants coming to Norway, dreadfully awaits their 18th birthday when they most likely will have to return to their homelands like Iraq, Ethiopia, Somalia and Afghanistan which in comparison makes the Kingdom of Norway seem like a far more peaceful place. Distinctly and subtly directed by Nordic filmmaker Margreth Olin, this quietly paced documentary which is narrated by the filmmaker and from multiple viewpoints, draws a gentle and mindful portrayal of a man whom is trying to cross the border from Kurdistan to Turkey, two brothers who only has each other, a man who came to Norway when he was a 14-year-old after escaping from an abusive stepfather and other asylum-seeking men without custodians who are temporarily residing in Norwegian asylums where they are waiting for an answer regarding their residence permits, which in their case might be a matter of life or death. While notable for it's naturalistic and variegated milieu depictions, fine cinematography by Norwegian cinematographer Øystein Mamen and use of colors, this interview-driven and narrative-driven story about immigration politics in Norway and what Margreth Olin has emphasized in her previous documentary features and narrative features and which refers to the United Nations Convention on the Rights of the Child, contains a great and timely score by Norwegian composer Rebekka Karijord. This conversational, sociological and subjective documentary feature which is set mostly in Oslo and Bergen in Norway and Igoumenitsa and Athens in Greece during the 21st century and where one of the bravest of the too few female filmmakers in Norway who gets furthest into the heart of her themes and the heart of the Norwegian society, and the human beings whom she is interviewing are asking where the humanity in Norway is, is impelled and reinforced by it's cogent narrative structure, heartrending stories and the filmmaker's analogous dream which illustrates how segregation of human lives are being practiced in an enlightened country. A virtuous, heart-shaped, cinematographic and courageously humane prayer for equality which gained, among other awards, the award for Best Norwegian Documentary at the 13th Bergen Film Festival in 2012.