That was an excellent one.

Thanks for the memories!

Expected more

The story-telling is good with flashbacks.The film is both funny and heartbreaking. You smile in a scene and get a soulcrushing revelation in the next.

At first I thought I was watching a parody and I laughed to death when the people talked or when they trembled in delirium on the ground.But as the movie evolved I was almost certain that it was in fact a documentary of shorts and this realization was most shocking. Of course I guess everybody has met one or two such "spiritual" people and has come across at least some trendy "spiritual" movement (yoga,tandra,christianity or whatever)that waxes and wanes in time in hers life. That this kind of movements are constantly present though( with different names ) from before WWII (see the excellent documentary "The Magic Mountain") through the hippie movement and the new-age version of our days,really is a proof that the Neanderthals actually never disappeared, they live among us (and they vote),Flying Spaghetti monster save us.Because otherwise it is not possible that Homo Sapiens beings of the 21th century believe to such things. So I give it 10/10 for amazing implicit proof that the Neanderthal is still alive

I was lucky enough to be invited to the premiere in London a few years ago and it was the first time I saw people from the audience actually falling off their seats in laughter. The Australian protagonist is a gold mine, if you can understand his accent. This is a great example of what a good documentary one can make with a great idea, very little money and a lot of luck (if the Ozzy hadn't mistakenly ended up there, there would be no movie).Really recommended.I guess only on DVD at this point but well worth it.Buy it if you can and support these guys. They made it with almost nothing.

I really loved this film. It had me quite literally screaming with laughter at certain points - in fact the guy I watched it with told me afterwards he actually pee'd himself a little bit. (sorry serious movie critics, I'm just telling it how it was). Despite the funny scenes and the excruciatingly embarrassing moments I found myself really drawn to almost all of the people in it by the end and and all credit to the directors on this because they could have just cut it so they were all characters to be mocked but they didn't. It also gave a really interesting message, about not judging people/places too quickly. It was beautifully shot. def recommended.

You may well have missed this little gem of British cinema, which had a far shorter run in the cinemas than it rightly deserved. Most explicitly Molkom is a film about collective therapy as an antidote to the alienating individualism of our consumerist societies. It is also a very funny character study. As a sounding board for the audience, sceptical Aussie Nick (who arrives at the Angsbacka festival by chance) encapsulates the mixture of curiosity, amusement and mild terror we feel right from the film's opening scene when we follow the camera down a boulevard of smiling faces – that little bit too welcoming. For me, the success of the film is that it takes us beyond those maniacal smiles, capturing both the communal frenzy of the festival and the quiet intimacy of the individual journeys within. Directors Cannan and McFarlane achieve this through their focus on one of the festival's customary 'sharing groups'– a group that brings together eccentric characters including a Finnish grandmother, Swedish pop star, Californian goatherd, a Viking-like Swedish harbourmaster. And Nick. This intimate focus allows the individual personalities to shine but also provides us with real insight into the group dynamics as they evolve and are disputed – sometimes quite unexpectedly. In this way the film achieves an accomplished balance between genuine sensitivity and laugh-out-load humour. A truly emotive experience. Visually the film is quite beautiful and the fluid camera movements capture the raw physicality of the workshops that presumably give the 'no mind' festival its name. It is this strategy (adopted by both cinematographer and directors) of tracing bodies, landscapes and personalities unobtrusively rather than through a contrived script that allows for the unpredictable development of the characters and in doing so (paradoxically) gives Molkom an feel of a feature film rather than a documentary. Looking forward to seeing what the team put together next!