سال 2001 - 446

Diablo vs. Carnage (Printer Match - #1 Contender For Saskatchewan Hardcore Championship) Blitz vs. Rage (c) (2 Out Of 3 Falls)

Diablo vs. Blitz vs. Juvenile (s) Rage vs. Carnage (c)

Royal Rumble (#1 Contender For Saskatchewan Hardcore Championship) ??? vs. Blitz (s)

Ironman vs. Renegade Juvenile vs. Rage ??? vs. ??? (#1 Contender For Saskatchewan Hardcore Championship) Carnage vs. Blitz (c) (s)

Rage vs. Renegade Blitz vs. Ironman (c) vs. Carnage (s) (For Both Championships)

Rage & The Devil vs. Juvenile & Blitz Carnage (s) vs. Ironman (c)

Kool-Aid vs. Rage Renegade vs. Ironman Blitz vs. Carnage (c)

Blitz vs. Renegade vs. Ironman Carnage vs. Bacardi (c)

Hawaii Kid vs. Renegade Ironman vs. Carnage Blitz vs. Bacardi (c)

Bacardi vs. Blitz Carnage vs. Ironman Battle Royal (For Championship)

Carnage vs. Hawaii Kid Blitz vs. Ironman

The production of cultural meaning, and of value, takes on a number of associations in "Krumpira Krumpira" ("Potatoes, Potatoes"), from 2001. The film pictures the artist selling cakes - a substitute for the standard plebeian foodstuff, bread - in the middle of a deserted, snowy forest landscape.

Azar is responsible for rural health at Qazvin and addresses various people’s problems. But Haj Kamal is a big obstacle in his way and does not allow things to go right. Haj Kamal is the head of the council and the big village, but because of Azar’s membership, he is not ready to convene a meeting. He believes that this is the work of men.

Whoever lies next to Karl-Johan is apparently not his girlfriend, Sofie. Although she has similar boots. But Sofie is on her way up the stairs - and maybe mother-in-law with a dog.

A man and a woman make love while listening to the national reveille from the radio.

This short film chronicles a lesbian relationship up until its demise.

My Friend Su is an insightful examination of one man’s feelings and struggles with being a ‘man’ on the outside but feeling distinctly feminine otherwise. His acceptance of what he is from within, a real ‘woman’, and his dreams to be with a man who can love him as a woman become the core issues that unravel in the film.

An autobiographical documentary film that goes beyond the barriers of the genre and is something between videoart, experimental film and home video and seeks to throw light on the consequences of the Armenian Genocide of 1915, which forced the director´s family to emigrate to France. In the spirit of Bertolt Brecht´s theory of art and distanciation, Khazarian frees himself from reality, combining in the film amateur films about his own family and contemporary footage from the battlefield in Nagorno-Karabakh. His film is not a recapitulation of historical fact, but rather a visual meditation on the fetishist aesthetics of war, diverse sexual orientations and the consequences of emigration. The film deals with topics such as war, destruction and sexuality, which, in the director´s view are indissolubly linked.