BEAUTIFUL MONSTERS forms a complement this film by crafting an intimate portrait of Erika Kramer: time together in the lush, overgrown garden of the stone house on the Seine, casual conversations between games of Scrabble, tarot card readings, acoustic resonances and drawings. An expansive cosmos unfolds between daughter and mother: from memories of Keja Ho’s birth in 1974 to a playful initiation into the irrefutability of death. (Volker Pantenburg)

The film concerns a group of disparate types who support themselves by running guns to the Arabs. On the surface, it would seem that these characters are bad guys. In fact, the guns are to be used by a resistance group who hope to continue shipping oil to the West, despite the despotic curbs imposed upon fuel shipments by their leaders.