Nine oldtimers come upon a young woman stuck in a swamp.

Jan's fastfood-business is going bankrupt, his girlfriend has left him, and he is being exploited by his live-in father. Therefore, he has nothing to lose when he gets mixed up in the kidnapping of famous rock star Iver Mo. But Jan has never been able to do anything right his whole life, and there are others who want to get their hands on the ransom money.

A few months after a girl with developmental disabilities is murdered in the remote village Høtten, the two young men who most townsfolk think killed her go missing. A police detective is sent to investigate and finds this very challenging.

The small town of Pinchcliffe is experiencing a great lack of snow, which is why the inventor Reodor Felgen is asked to create a snow machine. However, things do not go as planned.

Young vicar Mr. Paul arrives at the Faroe Islands to take up a benefice, and meets the young Barbara, twice married to vicars, and with both husbands laid cold in the grave. Despite the warnings of the surrounding community and his own religious scruples, he falls victim to Barbara's at once innocent and sinful charm. The appearance of the charming and gallant Andreas Heide in Thorshavn puts their love to the severest of tests.

人类登月后五十年，外太空的游戏规则有了改变，最先在月球插下国旗的国家将可合法拥有月球领土。各国前仆后继抢着登月但纷纷失败，挪威小镇修车工发明的古怪太空船， 成了国家的最后希望，有「刺猬路卡」和「喜鹊路易斯」联手出马，登月任务看来势在必得，但其实问题大了⋯⋯
导演拉斯穆斯席维特森，以挪威家喻户晓的卡通角色创作的停格动画系列，在全球缔造出一百七十万的观影人数，更是挪威史上最卖座的动画电影，将北欧国家的独特世界观融入讨喜的角色设定中，对世界局势做出迷人嘲讽，更对半世纪以来人类的登月想像有了崭新诠释。这部令人省思又能捧腹大笑的动画，大人喜欢，小孩也能看，荣膺本届柏林影展新世代单元开幕片。

邮差洛伊是“人渣”一名，不但不善待工作和顾客，反而经常拆毁要投递的信件，还要偷窥闯进别人的私生活，可谓讨厌十足的“猫屎”先生。然而，这样一个失败者竟因他在遇劫时不肯放弃邮袋的英勇行为而获得邮局表扬。后来他因好奇心，偷入其心仪的洗衣店女工家探险。他后来意外取得 莉娜家的钥匙，乃潜入她家偷窥，没想到莉娜因卷入一宗赃款而意图自杀，洛伊不忍心见死不救，但却让自己卷进几乎被谋杀的危机中。
本片是有史以来最卖座的挪威本土制作，成本却只用了400万美金，是小兵建奇功的范例。从偷窥的主题以至导演风格，均令人联想到奇斯洛夫斯基的名作《爱情影片》，只不过本片增加不少黑色幽默的成分，对生命中的“荒谬”也多了一层嘲弄。编导在单薄的故事和低沉的气氛中利用主人翁的偷窥欲引发连串有趣事件，对于这个游走在社会边缘却又缺乏社会关注的人物刻画得十分细致，但却没有深入探讨其真正的社会成因。

The movie is a collection of eight loosely connected episodes. Each one is dedicated to a norwegian party. Nine directors worked together in the production, yet in my opinion, the integration of the different stories worked better here than it did in similar attempts, for example "Four Rooms".
I am not at all familiar with norwegian politics, but the characterisations of parties are applicable to other countries just as well. The observations on political movements are accurate and they are presented in a very pleasant sarcastic manner.
Surely there are some norwegian specialties, and I certainly missed some of the humour, but even if stripped off any political meaning, the stories are funny and well-told.