"FOR to him that is joined to all the living there is hope," runs the verse from Ecclesiastes, "for a living dog is better than a dead lion." Stefan Ebel plays Thomasz, the "living dog" in A New World Order. He is a deserter who, out of necessity, has learned to look out solely for himself. In the near future, military robots have turned against their makers. The war seems almost over. Perhaps Thomasz has wriggled and dodged his way to the least settled part of the planet (Daniel Raboldt's debut feature is handsomely shot in Arctic Finland by co-writer Thorsten Franzen). Equally likely is that this is what the whole planet looks like now: trees sweeping in to fill the spaces left by an exterminated humanity. You might expect the script to make this point clear, but there is no script, or rather, there is no dialogue. The machines (wasp-like drones, elephantine tripods and one magnificent airborne battleship that wouldn't look out of place in a Marvel movie) target people by listening out for their voices. Consequently, not a word can be exchanged between Thomasz and his captor Lilja, played by Siri Nase.
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机译：“对于他加入所有生活的人有希望，”从牧师队奔跑，“为活狗比死狮更好。” Stefan Ebel在新的世界秩序中扮演Thomasz，“活狗”。他是一个失去必需品，已经学会了自己只为自己寻找。在不久的将来，军事机器人已经反对他们的制造商。战争似乎差点结束了。也许托马斯斯已经蠕动并躲避了他的途径到了这个星球最少的地点（Daniel Raboldt的首次亮相特征是通过Co-Writer Thorsten Franzen在北极占地面积射击。同样可能是整个行星现在的样子：树木彻底填补了被灭绝的人类留下的空间。您可能希望脚本要明确，但没有脚本，还是相反，没有对话。机器（像蜂酸一样的无人机，Elephantine三脚架和一个壮丽的空中战舰，不会在奇迹电影中看起来不会在奇迹电影中看不起人们来倾听他们的声音。因此，没有一个词可以在托马斯茨和他的霸王莱迦之间交换，由Siri Nase播放。
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