Frosti Runolfsson was born in 1981 in Reykjavik. Film, music and poetry are to Runolfsson three musketeers who live in and for each other in an unbreakable brotherhood: "When I heard the Beatles as child, I knew that I had to be an artist. When I heard Kiss for the first time, I wanted to be a rock n roller. When I saw Hitchcock's 'Psycho' I knew that I wanted to be a film director. When I read Bukowski's 'Burning in water, drowning in flame' I wanted to be a poet. The sum of all these influences is what I strive to be today: A rock n rolling film director with love for the language, a poetic vision and interest in the human mind" (Frosti Runolfsson, 2009). Frostis passion for music and poetry is evident in both the quirky poetic idiom and in his movie's themes.
John Torres was born in Manila, Philippines, in 1975 and graduated in art at the University Ateneo de Manila in 1997. The pulsating stream of images that characterize his films are rooted in Philippines' cultural and religious traditions. A Catholic priest was the mentor of his artistic development, and filmmaker John Torres is inspired by local pioneers as Kidlat Tahimik, Mike de Leon and Ishmael Bernal. The result is movies that, according to Gertjan Zuilhof from Rotterdam International Film Festival, "is close to the street, but their implied meaning is far from mundane." John Torres made his debut with the political paranoiathriller 'Todo Todo Tero' in 2006 - after a year's apprenticeship under international film makers as Carlitos Siguion-Reyna (Ligaya Ang Mo Sa Akin Itawag) and Manolo Abaya and the French photographer Michel Hugo. The debut earned him numerous awards, as did his latest film 'Years When I Was a Child Outside', which is based on bubbling memories of John Torres's own father - and his father's illegitimate family on the side.
It's 'Black Friday' in the mountain village San Pedro: a ritualistic special day, which has here become a trippy and symbolic film. A yellow-clad man goes on a walk through the fertile landscapes with death himself, while the inhabitants are remembering Judas's treason by lamenting the sorrows of the past year - and the remaining scars of the Spanish colonial era, which lasted for over three hundred years in the Philippines. Various things happen, and night falls on the Brian Jonestown Massacre and a heavy acid house score from the 1990s. The end is near and something new is coming. Apocalypses during prime time and a tropical Valhalla under plastic palm trees, maybe. But also a world that is not ruled by imperialist dictates and a plot-like logic. John Torres and the Icelandic filmmaker Frosti Runolfson are far out in nowhere, where visions and daydreams become myths and legends.