La Reine

Drugs have been with 73-year-old non-conformist Ian all his life, but times have changed. Whereas in the 1960s they were part of the counterculture, today the lavender farm is a place far from the outside world where addicts flock, not looking for different or better company, but to bring their own traumas. Nikola Klinger used Super 16 to film not only Ian's memories, but also a nostalgic chronicle of social processes. His portrait of individual and collective memory shows that there are two ways to enjoy freedom, either as a medicinal herb or a poison drug. Drugs have been with 73-year-old non-conformist Ian all his life, but times have changed. Whereas in the 1960s they were part of the counterculture, today the lavender farm is a place far from the outside world where addicts flock, not looking for different or better company, but to bring their own traumas. Nikola Klinger used Super 16 to film not only Ian's memories, but also a nostalgic chronicle of social processes. His portrait of individual and collective memory shows that there are two ways to enjoy freedom, either as a medicinal herb or a poison drug. Drugs have been with 73-year-old non-conformist Ian all his life, but times have changed. Whereas in the 1960s they were part of the counterculture, today the lavender farm is a place far from the outside world where addicts flock, not looking for different or better company, but to bring their own traumas. Nikola Klinger used Super 16 to film not only Ian's memories, but also a nostalgic chronicle of social processes. His portrait of individual and collective memory shows that there are two ways to enjoy freedom, either as a medicinal herb or a poison drug. Drugs have been with 73-year-old non-conformist Ian all his life, but times have changed. Whereas in the 1960s they were part of the counterculture, today the lavender farm is a place far from the outside world where addicts flock, not looking for different or better company, but to bring their own traumas. Nikola Klinger used Super 16 to film not only Ian's memories, but also a nostalgic chronicle of social processes. His portrait of individual and collective memory shows that there are two ways to enjoy freedom, either as a medicinal herb or a poison drug.