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| | Richard Lowenstein |
 | | In Lowenstein's hands, He Died With A Felafel In His Hand presents an intelligent portrait of the highs and lows of share household life, as it takes a shot at exploring the dynamics of desire and existence, and reflects upon the differing psychologies of Australia's major cities. |
 | | He Died With A Felafel In His Hand also revisits the theme of mid-twenties breakdown (16) which was first broached by Lowenstein in Dogs In Space, as both films set their focus on a group of alienated, over-educated, underemployed youths, struggling together to find meaning and direction in their lives. |
 | | Lowenstein has described He Died With A Felafel In His Hand as the emotional sequel (18) to Dogs In Space, and while the focus of these two films on the social phenomenon of share household life would naturally lend itself to comparison, there is a marked stylistic difference between them. |
| www.sensesofcinema.com /contents/directors/03/lowenstein.html (2630 words) |
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