The series' two Far East entries stare directly into the eyes of a restless teenager--one from the city and the other from a rural wetland. (Both locations have nowhere stamped all over them.) In Diao Yinan's much-acclaimed Uniform (September 30), a young Chinese tailor starts wearing a police shirt left unclaimed by its owner. The tailor soon finds himself conforming to the authoritarian postures of his new persona--and in trouble with the real law. And in Mihn Nguyen-Vô's Buffalo Boy (September 17), an adolescent farmer faces off against the dual rising tides of poverty and the Mekong. Shot to inky perfection by Bruno Dumont's cinematographer Yves Cape, Buffalo Boy embodies the "Global Lens" series' preference for low-impact existential workouts. As the closing moments of Buffalo Boy gently remind us, the sole comfort to be found in this world is in knowing that the sea will always be deep and the sky above will shelter us forever.