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Tag: Berlin Film Festival

  • Sebastian Brameshuber’s ‘London’ Boarded by Square Eyes Ahead of World Premiere at Berlin Film Festival (EXCLUSIVE)

    Vienna-based sales agency Square Eyes has secured international rights to Sebastian Brameshuber’s “London,” which will have its world premiere in the Panorama strand of the Berlin Film Festival, taking place Feb. 12-22.

    The film follows Bobby, who is always in his car, driving back and forth on the highway that links Vienna and Salzburg. Other people travel that same route; he picks them up to save money on petrol and talks to them along the way: the soldier questioning what it means to fight; the supermarket trainee heading to see family; the academic looking at the history of the highway; and the queer woman about to get married. Different paths, different accents, different stories, most of them true.

    Bobby listens, but also speaks about himself, about his youth, about aging, about his friend in a coma in Salzburg, who’s the reason for all these trips.

    Mountains and forests rush by outside, broken up by junctions, barriers and bridges, the quality of light shifts along with the seasons.

    Neither a documentary, nor entirely fiction, “London” is a “quietly political portrait of today’s Europe via its in-between spaces and those passing through them,” according to a statement. “Even in these strange times, anonymity and kindness can still go hand in hand.”

    Brameshuber said, “With ‘London,’ I wanted to capture raw presence while using cinema to defy its gravity, creating a film that oscillates between the real and what lies beyond.”

    He added, “The main action of the film takes place on the Westautobahn, or A1, a seemingly functional highway connecting Vienna and Salzburg before ending at the German border. People from across Europe make use of it for a variety of personal reasons, unaware of the historical abyss along its edges, for this road follows a line that was first drawn almost 90 years ago, at a time of great unrest.

    “The A1 flows like a river, its banks accumulating stories and history like sediments—past and present, private and political, trivial and profound.

    “Though strangers, the long stretch of time Bobby and his much younger passengers share in a confined space draws them closer. At times, they become something like a mirror, reflecting back to him the lives he could have lived. Their conversations may skim the surface, only to plunge into deeper waters, as the immediacy of their everyday lives intertwines with history at every bend in the river.”

    Wouter Jansen, CEO of Square Eyes, said, “With minimal means and mostly dialogues, Sebastian takes the audience on a very engaging and at moments emotional ride.

    “Set almost entirely on a single stretch of highway, the film draws a quiet, yet resonant portrait of contemporary Europe through fleeting encounters with strangers. We have been eagerly awaiting this film and are happy to be presenting it to the world starting in Berlin.”

    “London” is produced by David Bohun and Lixi Frank for Panama Film in Austria.

    Leo Barraclough

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  • Berlinale Unveils New Selection Committee

    Berlinale Unveils New Selection Committee

    The revamped Berlin International Film Festival continues to take shape, with new festival director Tricia Tuttle on Thursday unveiling a new four-member selection committee and expanding the festival’s network of advisors and delegates.

    The new selection committee consists of industry veterans, including festival programmer and producer Mathilde Henrot; film critic and programmer Jessica Kiang; festival and cultural consultant Jacqueline Nsiah; and Elad Samorzik, the former artistic director of the Jerusalem Film Festival.

    They join Michael Stütz and Jacqueline Lyanga, appointed in June as the new co-directors of film programming ahead of the 75th anniversary Berlinale next year. This committee will work alongside Tuttle to pick films for the Competition, Berlinale Special, and the new Perspectives section.

    To broaden its expertise, the Berlinale has also brought on board several advisors, including Jin Park for genre films; Rowan Woods for television and series programming; Ana David, Kate Taylor, Rabih El-Khoury, and Toby Ashraf for general preselection; and Jenni Zylka for German cinema programming, with a special focus on German new talent and film schools. Ashraf brings specialist experience in German and LGBTQIA+ programming. El-Khoury brings years of experience curating Arab cinema.

    Tuttle has also appointed international delegates to scout for films and act as ambassadors in various regions, including Latin America, South Asia, the United States, and East Asia.

    Tuttle, the former head of the London Film Festival, took over from Berlinale co-directors Carlo Chatrian and Mariëtte Rissenbeek and will kick off her reign with next year’s event, which runs Feb. 13-23.

    Scott Roxborough

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  • Filmotor Nabs World Sales for Berlinale Title ‘Shahid’ Ahead of Visions du Réel Premiere (EXCLUSIVE)

    Filmotor Nabs World Sales for Berlinale Title ‘Shahid’ Ahead of Visions du Réel Premiere (EXCLUSIVE)

    Berlinale Forum entry “Shahid,” the debut feature of Iranian-German filmmaker Narges Kalhor, has been picked up by Prague-based doc specialist Filmotor ahead of its premiere at Swiss documentary festival Visions du Réel, where it is competing in the more experimental Burning Lights section.

    Described by Kalhor as a collective work between herself and other artists, including a costume artist and a painter from Iran, a German music composer and a choreographer from Berlin, “Shahid” shifts playfully between genres, challenging conventional filmmaking rules.

    Set in present-day Germany, where Kalhor emigrated as a political refugee in 2009, the film focuses on her desire to officially remove the first part of her surname, “Shahid,” which means “martyr” in Farsi and was inherited from her great-grandfather, in an act of feminist resistance to patriarchal structures.

    During this process, the actor who plays Kalhor travels back in time and meets her great-grandfather, but she also uncovers the true origins behind the name, which, it turns out, was chosen by her great-grandmother when her husband was killed.

    As Kalhor realizes – on screen, during one of several scenes where she deliberately breaks down the third wall between filmmaker and viewer – that she is making the wrong film, she also comes to the conclusion that she knows nothing about this great-grandmother.

    “That’s the end of the dramaturgy,” Kalhor tells Variety. “In this movie, we have no space for the great-grandmother – she tells me this through AI animation. She says: ‘All you talk about in this movie are the men and your great-grandfather, but let me just explain my story,’” says Kalhor, referring to a scene where the animated figure of her great-grandmother addresses her directly.

    “But we don’t know anything about her – just that she was Kurdish and changed her last name: I can’t make a movie about her because history is written by men about men,” adds Kalhor.

    While never taking itself too seriously, the film successfully addresses a myriad of questions on patriarchy, diversity and narratives shaped by male perspectives. Asked whether her intention was to make a feminist movie, she replies: “I hope so. I really believe that the kind of cinema we learn is from men.

    “I was a student of Abbas Kiarostami; here [in Germany] I learnt from Michael Haneke, I have learnt from perfect filmmakers, all of them men. With ‘Shahid,’ I want to write a new kind of feminist movie that breaks the rules. It’s not just about her [my great-grandmother] but about all of us. We all have a surname, and it has a history. But I, as a woman, want to change it, to rewrite it.”

    Kalhor says she has never returned to Iran since leaving in 2009, when she applied for asylum while visiting the Nuremberg International Human Rights Film Festival with her film school short “Die Egge.”

    The daughter of a senior cultural advisor of the then Iranian president Mahmoud Ahmadinejad, her case attracted international media attention as she was granted asylum after just a few months, whereas other refugees, including the actors who play herself and her great-grandfather in the film, had to wait several years.

    Kalhor addresses what she describes as Germany’s “refugee hierarchy” in the film, in another scene where the actors are supposedly recorded criticizing her behind her back between scenes, calling her a Tehran “rich kid.”

    “I was granted asylum in just three months because of my last name. The other Iranian guys – the real victims of the Iranian regime – stayed for years without papers, that’s the difference between us,” she tells Variety.

    “And for me, it was important to reflect this in my movie, because if I don’t criticize myself, it is not fair: There are VIPs like me, others have to wait for years, and others still are sent back to their countries.”

    While “Shahid” is her debut feature, it does not mark Kalhor’s first visit to Visions du Réel, where she already presented her shorts “In the Name of Scheherazade” in 2019 and “Sensitive Content” last year.

    The film has its international premiere in Nyon on April 14.

    The festival runs until April 21.

    Leo Barraclough

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  • In Berlinale Film ‘Paradises of Diane,’ a Woman Abandons Her Baby but Finds Herself: ‘We Don’t Want to Judge Her’

    In Berlinale Film ‘Paradises of Diane,’ a Woman Abandons Her Baby but Finds Herself: ‘We Don’t Want to Judge Her’

    “Paradises of Diane,” which premiered in the Panorama section of the Berlin Film Festival, came out of an exploration of the “dark side of maternity” and the role of the mother in society, director Carmen Jaquier tells Variety.

    The film, which was directed with Jan Gassmann, starts with Diane abandoning her new-born baby at a maternity clinic in Zurich, and heading to the seedy Spanish seaside resort Benidorm, without telling anyone. Here she befriends an elderly woman, Rose, and the two of them form a tentative bond.

    Jaquier says the idea for the film came from a conversation with a friend, who confessed that she had become very depressed after the birth of her daughter. The woman hadn’t spoken about this to her friends or family. After Jaquier had written the first draft of the script, Gassmann joined the project and the two of them started to talk to women about their experiences of giving birth and motherhood.

    When writing the script Jaquier says they were “super connected” to Diane and her experience, but when she and Gassmann started to pitch the project to film funders and received feedback about the subject of a mother abandoning her baby they “realized how violent it could be for other people and that they couldn’t have any empathy for her.”

    After that they understood that there would be some people who wouldn’t be able to accept Diane’s decision. “We had to rethink and rebuild from that moment but for us it was super important to be straight with this character,” Jaquier says.

    Gassmann adds: “The decision to leave a child poses questions to yourself such as: Would we be able to do it? What happened to the father? Is he all alone? So, we try to work with these questions, but at the same time not to have a moral view on it. The starting point was that she does that, she’s leaving and she’s in this situation, and we don’t want to judge that.”

    They told Dorothée De Koon, the actor who plays Diane, that it is a “very courageous decision on her part to protect the others from how she is at the moment, and try to go home whenever she is ready,” Gassmann says.

    “Paradises of Diane”
    Courtesy of 2:1 Film

    In the film, landscapes can be both external and internal, Gassmann says, referring to a line from Agnès Varda in “The Beaches of Agnès,” when Varda says: “If we opened people up, we’d find landscapes.” So, we see Diane exploring her feelings, sexuality and identity, and this is reflected in the landscapes she travels through. On the journey across Europe by bus Diane starts to feel anonymous, and is able to “disappear” into the crowds in Benidorm, “a place where she seeks to rebuild herself,” Gassmann says. Opposite Rose’s apartment, which overlooks the sea, is an island, which mirrors Diane’s feelings of isolation and loneliness.

    Diane begins to recognize that there is something of herself in Rose. “Sometimes in life you have this special meeting with someone who could be a part of you or you in a few years or in the past,” Jaquier says.

    “Paradises of Diane”
    Courtesy of 2:1 Film

    Through her relationship with Rose, Diane sees that despite her decision to leave her baby there is still a nurturing side to her character. “It was very important to us that Diane is still capable of love, still capable of taking care of someone. So, with Rose there is this possibility for her to maybe understand something, but it’s not enough and she has to move on, to take a decision at the end. But just for a few weeks with this old woman, who has experienced something quite similar to her, there was like this question of superposition in life: That you are all the people you were during your life. We are much more than the person we are in the moment. There is some connection between you now and you in the past and future, even if you don’t know that in the present moment.”
     
     
     
     
     

    Leo Barraclough

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  • ‘No Other Land’ Review: A Frank, Devastating Protest Against Israel’s West Bank Occupation

    ‘No Other Land’ Review: A Frank, Devastating Protest Against Israel’s West Bank Occupation

    It is any parent’s hope that their children won’t inherit their battles, or at the very least, that they can pass the generational baton with some ground gained. For young Palestinian lawyer and activist Basel Adra, a West Bank native who grew up watching his activist parents fight to protect their land from Israeli occupiers, there has been no such progress: Time has stood dispiritingly still as he has aged into his elders’ shoes. Adra is a resident of Masafer Yatta, a network of Palestinian villages in the southern Hebron Hills, recently subject to an aggressive campaign of demolition and forced transfer by the Israeli army. As his community is literally bulldozed before his eyes, Adra has little scope to do anything but keep his camera on: “I have nothing else, only my phone,” he despairs. That, thankfully, is not nothing. In the shattering documentary “No Other Land,” Adra’s witnessing becomes ours.

    Premiering at the Berlinale not four months after Hamas’ October 7 operation into Israel was followed by Israel’s large-scale invasion of the Gaza Strip — an assault that has killed over 28,000 Palestinians — “No Other Land” might be called timely. But through its years-spanning depiction of both the mortal danger and mental strain of living under occupation, the film underlines that the situation has been at crisis point for a long time, whether or not it’s been grabbing international headlines. The project began in 2019, when Adra met Yuval Abraham and Rachel Szor, Jerusalem-based journalists reporting on Israeli evictions of local residents, and offered his first-hand perspective on events.

    Together with Hamdan Ballal, another Masafer Yatta activist, they formed a filmmaking collective that, despite its Palestinian-Israeli makeup, has little interest in both-sides-ism. The doc benefits from Abraham and Szor’s journalistic nous (with Szor gaining often remarkable access as its chief DP) and freedom of movement, but the Palestinian experience and point of view is centered throughout. The chasm between Adra’s and Abraham’s respective acquaintances with the conflict is pointedly underlined, too. At one point, as Abraham bemoans the lack of online engagement with his latest report, Adra chides him for his self-serving exasperation: “You want to end the occupation in ten days — it requires patience.”

    Beginning in the summer of 2019, the film divides itself into season-based chapters that illustrate both the relentlessness of the Israeli army’s offensive on Masafer Yatta — consistently thwarting villagers’ attempts to build back what has been destroyed — and its erosive effect on Adra’s spirit, not to mention that of his community as a whole. Looking on as bulldozers pile into homes, livestock pens and even pigeon coops, making way for a proposed Israeli tank training base, the five-years-younger Adra expresses hope that residents’ on-the-ground resistance will capture the attention of major world powers, and pressure Israel into desisting.

    This naive optimism does not hold as we fast-forward to the winter of 2020, and are immediately faced with similar acts of demolition. When one villager, Harun Abu Aran, confronts the soldiers confiscating his generator, they shoot him in the chest, leaving him paralyzed from the shoulders down. “No Other Land” presents such horrifying footage with candid sangfroid, contributing little commentary where the images speak for themselves. The filmmakers track Abu Aran’s deteriorating condition over the next two years, as he and his stricken mother find makeshift refuge in a cave, while she wearies of the international reporters who visit to document their tragedy, while yielding nothing in the way of change or relief.

    As the film moves through the years toward a late-2023 postscript, a terrible holding pattern is established, as sudden demolitions — even, in one dreadful instance, of a schoolhouse in session, cuing a panicked evacuation — become routine. Community rebuilding efforts ensue, mostly by night, and are met with bulldozers once more. Protests repeatedly run into hostile police opposition, Adra often throwing himself into the thick of conflict and clouds of teargas. Slowly, the people of Masafer Yatta begin to concede defeat, with many packing up their lives and moving to cramped apartments in the city.

    A brief official visit from Tony Blair, in his capacity as a special envoy of the Quartet on the Middle East, ensures a reprieve for one village slated for Israeli demolition, but Adra is unimpressed. “This is a story about power,” he says — and the people living permanently with this crisis don’t have any. Relations even fray between the quartet of directors, or so the film’s construction would have us believe: Ballal wonders aloud how he can so much as maintain a friendship with any Israeli under these circumstances. Abraham declares his allyship, insisting he wants the occupation to end. “How does that help me?” Ballal spits back.

    Given the conditions of its production, “No Other Land” would be vital even in a more ragged form. But the filmmaking here is tight and considered, with nimble editing (by the directors themselves) that captures the sense of time at once passing and looping back on itself. The intense, jolting impact of the film’s intense sequences of Palestinian-Israeli confrontation — often shot on phone cameras, to the consternation of army officials, and violent enough to shock many complacent fence-sitters on the issue into angry awareness — is balanced with more composed, observational scenes of Adra, his family and his neighbors trying to live an everyday life on ground that keeps getting pulled out from under them. Hope is fading that the next generation might retain their ancestral land; if they do, they’ll likely inherit Adra’s activism with it.

    Guy Lodge

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  • Isabelle Huppert On The “Unique Experience” Of Working Without A Script On Hong Sangsoo Berlin Title ‘A Traveler’s Needs’

    Isabelle Huppert On The “Unique Experience” Of Working Without A Script On Hong Sangsoo Berlin Title ‘A Traveler’s Needs’

    “This might sound very irresponsible, but I don’t know what I’m doing,” South Korean filmmaker Hong Sangsoo told a Berlinale presser this afternoon when quizzed on his unique directing style. 

    The prolific filmmaker is back at Berlin with A Traveler’s Needs, his seventh film in three years. The film stars French screen veteran Isabelle Huppert and Sangsoo has six credits on the film, including director, screenplay, cinematography, editing, and music and he is also listed as the film’s producer. 

    “I start with some objectives and then I have a recognized working method that I have developed. And I believe in a certain happening between people,” he continued. 

    A Traveler’s Needs is Huppert’s third collaboration with Sangsoo, and she told the Berlinale presser that the Korean filmmaker provides a creative environment like no other filmmaker she has worked with. She said this is largely thanks to his process of working without a script. 

    “It’s very difficult to project yourself into the story or role because there is no role or story. There is just the way he captures the present moment and the state of a person confronting a certain world,” Huppert said of Sangsoo.

    “And this is why I like working with Hong. You really cannot go to work with him the same way you go with another director. It’s really a unique experience.”

    The pic also stars Sangsoo regulars Lee Hyeyoung and Kwon Haehyo. The vague official synopsis reads: This woman who came from who knows where says she came from France. She was sitting on a bench in a neighborhood park, diligently playing a child’s recorder. With no money or means of supporting herself, she was advised to teach French. In that way she became a teacher to two Korean women. She likes to walk barefoot on the ground and lie down on rocks. And when she is up to it, she tries to see each instant in a non-verbal way, and to live her life as factually as possible. But life remains as hard as ever. She relies on Makkeolli every day for a small bit of comfort.

    Finecut is handling international sales on the pic. A Traveler’s Needs debuts this evening in competition in Berlin. 

    The Berlinale runs until February 25.

    Zac Ntim

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  • Emeraude Toubia’s Horror Film ‘Rosario’ Sells to Key World Markets (Exclusive)

    Emeraude Toubia’s Horror Film ‘Rosario’ Sells to Key World Markets (Exclusive)

    Highland Film Group has sold the horror film Rosario to a slew of international territories as the Berlin Film Festival and its market kicked into gear.

    Felipe Vargas’ directorial debut from a script by Alan Trezza, which recently wrapped production, stars Emeraude Toubia, Oppenheimer actor David Dastmalchian, Jose Zuniga, Emilia Faucher and Paul Ben-Victor.

    Highland Film Group on the weekend unveiled rights deals with Splendid Film for Germany and the Benelux, Galapagos Films for Poland, Spentzos Film for Greece, MovieCloud for Taiwan and Vietnam and MVP for Malaysia. There are also sales to Silverline Multimedia for the Philippines,  PT Prima Cinema Multimedia for Indonesia, PictureWorks for India and Falcon Films for the Middle East.

    Rosario stars Toubia in the titular role as a successful Wall Street stockbroker forced to spend the night with the body of her estranged grandmother Griselda after she abruptly dies. While waiting for the ambulance and her father Oscar, played by Zuniga, twisted and menacing supernatural forces possessing Griselda’s corpse begin their assault on Rosario as she becomes the target of a deadly family curse that spans generations.

    Rosario is produced by Silk Mass’ Jon Silk and Mucho Mas’ Javier Chapa and Phillip Braun. The film is executive produced by Highland Film Group’s Arianne Fraser and Delphine Perrier, as well as Toubia, Bruce Barshop, Vincent Cordero, Simon Wise and Kristopher Wynne.

    Mucho Mas Media financed and produced the film, which began production in Bogota, Colombia and included additional camera work in New York City.

    “With the help of our terrific international partners, we look forward to introducing this smart and chilling film to audiences around the world,” said Highland Film Group COO Delphine Perrier.

    Etan Vlessing

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  • ‘The Adamant Girl’ Review: P.S. Vinothraj Delivers a Radical Exploration of Gendered Traditions

    ‘The Adamant Girl’ Review: P.S. Vinothraj Delivers a Radical Exploration of Gendered Traditions

    Farcical and viscerally upsetting in equal measure, P.S. Vinothraj’s “The Adamant Girl” masterfully exposes the nature of superstition by zeroing in on gendered expectations. A story of a betrothed woman being shepherded by her fiancé’s family between sites of religious ritual, the rural Tamil-language drama plays like an extension of “Pebbles,” Vinothraj’s remarkable 2021 debut in which an abusive, alcoholic husband and his young son traverse a harsh terrain on foot to retrieve his fleeing wife. This time, the men have cars and motorcycles, while the woman has little recourse but to silently bear the brunt of their beliefs, in a movie that makes deft use of the dynamic between bodies and their environments.

    Vinothraj sets the stage by following his characters in lengthy, unbroken shots, observing their movement — or lack thereof, in some cases. He creates a sense of mood and texture around them even before they speak as he tracks them from behind. His central character, Meena (Anna Ben), remains still and silent for most of the film, as though she were in a fugue state, while her brusque fiancé, Pandi (Soori Muthuchamy), gurgles imposing dialogue despite his painfully hoarse voice. Meena chooses to be silent. Pandi insists on being heard.

    Pandi, his parents and his two wedded sisters believe Meena’s reluctance to marry him is rooted in some kind of spiritual possession. The exact circumstances of her refusal aren’t specified up front, though they have caste-centric implications when revealed. Vinothraj, in his exploration of gender, tosses a wide net over rural Indian society, analyzing numerous different family dynamics, including that of Meena’s own parents, who bite their tongues and go along with their in-laws’ planned exorcism scheme.

    The plot is simple on its surface. Pandi’s family seeks to take Meena to a holy site for a prayer offering, followed by another trip immediately after to a revered, shamanic “seer” for whom they bring a sacrificial rooster. Although Meena doesn’t speak — in fact, she makes an effort to barely emote or react — Vinothraj’s unyielding focus on her eyes and her subtle reactions creates a world of interiority, which few of the characters in her vicinity choose to see. The camera goes where society’s general consciousness, and its moral compass, do not.

    Shots of the rooster tied to stone, unable to escape, are swiftly followed by reaction shots of Meena’s unwavering gaze. She doesn’t “react” in the traditional sense, but the camera and editing work in tandem to illuminate her thoughts as she identifies with the helpless fowl. Meena sits in a rickshaw with the family’s women while the men chaperone them on motorbikes — a mechanical reflection of a wedding procession, stripped of all joy and color. Through visual suggestion, “The Adamant Girl” seems to ask at every turn: Beneath all the pomp and circumstance, is misogyny just incidental to deep-seated Indian tradition? Or is it a fixture?

    Vinothraj depicts both the sudden intimacy of violence within the family unit as well as its futility from afar, highlighting male impotence rather than dominance. Each sequence is carefully crafted, but it emerges as though it has a mind of its own. The camera goes to great lengths to capture physical and emotional spaces that seem to exist only in private, within Meena’s fantasies of freedom and reprieve. The film’s focus on ritual is often tongue-in-cheek, from extended sequences of actual traditions geared toward forcing Meena to marry Pandi, to more mechanical goings-on, like the repetitive tradition of rope-starting the rickety rickshaw. Like all traditions, it’s one that works until it won’t.

    Through Meena’s gaze, Vinothraj also captures a dynamic view of water and other liquids — a recurring visual motif that binds the film — from plastic water bottles used to refill the bikes with petrol, to bodies of water roaming free, to water used within the aforementioned rituals, and even used forcefully to wake the rooster when it seemingly passes out from the heat. Liquid is fluid; its meaning is pliable, even when applied to the rigidity of ritual. It takes different shapes, while Meena is forced to fit a singular box. None of these thoughts are expressed in words, but thanks to Ben’s impeccable performance, Meena brings even these complex ideas to life through her silent despondency and her yearning for human decency.

    The wry humor of “The Adamant Girl” goes hand in hand with its unflinching depictions of masculine insecurity and its harmful outcomes. The film is as funny as it is unsettling, but it’s ultimately liberating, albeit in roundabout ways. It builds to a stunning climax in which nothing out of the ordinary happens, but the mundane, the familiar and the wholly expected are subverted aesthetically. The camera, in this moment, suddenly embodies the very feelings of paralyzing entrapment it has been so carefully observing thus far. It’s a jolt to the system.

    Peter Debruge

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  • ‘La Cocina’ Review: Alonso Ruizpalacios Sharpens the Knives for This Look Inside a Chaotic New York Kitchen

    ‘La Cocina’ Review: Alonso Ruizpalacios Sharpens the Knives for This Look Inside a Chaotic New York Kitchen

    Before demonstrating himself to be one of Mexico’s most original and exciting new filmmaking talents, Alonso Ruizpalacios washed dishes in a bustling big-city kitchen. That experience informs every second of the “Museo” director’s fourth feature, “La Cocina,” a thrilling in-spirit adaptation of Arnold Wesker’s 1957 play “The Kitchen,” transposed from midcentury London to modern-day New York.

    A chaotic symphony of nearly two dozen characters, this black-and-white indie confection (garnished with sparing touches of color) mixes biting social critique with stylistic bravura. The setting is in the guts of a high-volume midtown Manhattan restaurant called The Grill — a hectic pressure cooker where personal and professional concerns come to a boil.

    The food looks edible at best, and a lot less enticing after we’ve witnessed the commotion that goes into preparing it. In Ruizpalacios’ version, practically the entire staff — not Rooney Mara’s pregnant waitress, but the ones touching the food, at least — are immigrants caught between the proverbial frying pan (sweating into their orders amid the midday rush) and the fire (of losing their work status, which exposes them to the risk of deportation).

    Wesker would have approved of Ruizpalacios’ changes. As the left-leaning playwright explained at the time: “The world might have been a stage for Shakespeare but to me it is a kitchen, where people come and go and cannot stay long enough to understand each other, and friendships, loves and enmities are forgotten as quickly as they are made.”

    The Mexican writer-director shares Wesker’s solidarity-minded admiration for the soldiers of food service, taking an immersive approach to their work. “La Cocina” thrusts us into the trenches, while updating the issues that threaten to derail another chaotic day in the operation — from the waitress weighing whether to abort to an investigation into roughly $800 missing from the till (almost exactly the cost of the procedure).

    Ruizpalacios actually opens the film far from 49th Street, where rats eat the leftovers of yesterday’s slop. There’s a dreamy, slightly amateurish quality to the slow-motion prologue, which follows Estela (Anna Diaz), a young Mexican immigrant with experience in a Michelin-starred restaurant, as she makes the pilgrimage to this glamorously located but otherwise unremarkable establishment to interview for a job.

    It’s a logical way in — not unlike the “Mad Men” pilot, which followed inexperienced Peggy into a daunting workplace environment, letting audiences learn the ropes alongside the new girl. Here, Estela serves as our guide, then moves to the background. She knows to drop the name of family friend Pedro (Raúl Briones), who preps poultry dishes all day at The Grill. That strategy gets her the job, even if Pedro himself is on thin ice, three strikes away from being fired.

    He shows up late for work and quickly becomes the primary suspect in the register robbery — an invention that serves to exposing prejudices at play in the workplace. Ruizpalacios toys with audiences’ assumptions as well (we can’t help but wonder who stole the money), selectively revealing certain key details — like the fact that Pedro and Mara’s character, Julia, are a couple. Come to find, she’s carrying his child.

    At 139 minutes, the movie takes its time, gradually building toward the lunchtime surge. In the quiet before the storm, the lovers stress about non-work things. Using a special ingredient Estela brought from Mexico, Pedro whips up a sandwich as a declaration of his love for Julia. She repays him with a quickie in the walk-in fridge.

    Though Briones has the showier part, Julia asserts a disproportionate power over Pedro: It’s ultimately her decision whether to keep the baby, and tied up in that choice is the fate of their relationship and his own visa status. To the extent that this kitchen serves as a microcosm through which to understand the world, “La Cocina” focuses viewers’ attention on just how much society exploits immigrant labor.

    Julia and the other white women interact with the customers, but behind the swinging doors, American citizens are in the minority. Ruizpalacios layers all the different languages in one exhilarating montage, where we see the micro-dynamics that go into making this operation run. “Speak English!” bellows the aggro guy at the steak station, brandishing his knives like he’s ready to murder someone.

    While the impatient diners (rarely seen) demand service, the line cooks shift into battle mode. The tension builds as the incoming orders accelerate, chattering away on a receipt printer Pedro comes to view as a personal enemy … until he snaps, triggered by a slur from one of the waitresses. We were warned, but who could have foreseen such an epic meltdown? Imagine “Network” anchor Howard Beale imploding in the bowels of a New York tourist trap. It’s equal parts hilarious and horrible: an over-the-top catharsis for anyone who ever punched the clock in a kitchen.

    The way Ruizpalacios handles his ensemble — nearly 20 employees, ranging from tough-love manager Rashid (Oded Fehr) to the lowliest busboy — mirrors the energy of a boisterous, late-career Altman movie, even if DP Juan Pablo Ramírez’s crisp monochrome cinematography suggests something scrappier (more in line with the helmer’s indie debut, “Güeros”). Covering so many characters requires careful choreography, especially as the kitchen spirals out of control during the lunchtime surge.

    At one point, a broken soda machine floods the premises, such that line cooks and servers alike are practically swimming to their stations. “La Cocina” confronts the craziness head-on as this industrial kitchen starts to feel like the galley of one of those Roman slave ships from “Ben-Hur.” If the United States is a melting pot, this is the furnace.

    Peter Debruge

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  • Berlin Hidden Gem: ’90s Nostalgia, Media and Horror Collide in ‘I Saw the TV Glow’

    Berlin Hidden Gem: ’90s Nostalgia, Media and Horror Collide in ‘I Saw the TV Glow’

    From beefcake Calvin Klein ads to Dungeons & Dragons, 1990s pop culture is hitting peak nostalgia. But in A24’s I Saw the TV Glow, writer-director Jane Schoenbrun examines the decade with a fresh eye, weaving a trans coming-of-age tale into a suburban horror story and a tribute to ’90s teen television. 

    Schoenbrun’s follow-up to 2021’s We’re All Going to the World’s Fair, the film follows Owen (Justice Smith and Ian Foreman play the character at different ages), a lonely teenager trying to find themselves in a body and world that both feel foreign. Owen’s life starts to change when they meet Maddy (Brigette Lundy-Paine), a slightly older queer teen who introduces them to a TV show called The Pink Opaque, about high schoolers battling supernatural forces. Owen and Maddy escape into the show’s fictional universe, which, while frightening in its own right, makes more sense than reality, and they bond deeply with the show’s characters.

    “It’s a very strange phenomenon that I don’t think people take seriously, but certainly as a dissociated queer kid in the suburbs, many of my closest emotional relationships were with characters on Buffy the Vampire Slayer,” Schoenbrun says, referencing one of the iconic ’90s shows that lend mythology and allegory to the film.

    TV Glow even features a cameo by Amber Benson, who played Tara Maclay, a beloved queer character on Buffy who some fans feel was ill-served by the show. “I was like, if I can put Amber Benson onscreen in my movie,” Schoenbrun says, “it’s almost this gift to myself and to others of righting a wrong.”

    Nineties kids will find the film rife with satisfying nods to the era, from allusions to Goosebumps and The Smashing Pumpkins to a supporting performance by Limp Bizkit frontman Fred Durst, who plays Owen’s terrifying, homophobic father.

    While Schoenbrun incorporated such allusions partly to pay tribute to things they found beautiful in ’90s pop culture, their choices speak to the ways in which culture shapes identity and helps us make sense of the world.

    “We are all ourselves, and we’re also conditioned by the invisible signals we’re receiving from all around us,” Schoenbrun observes. “At least for me, I think these glimpses of other worlds through a screen in childhood were often signals of some form of magic or otherness or possibility hidden in a way on the margins of the normative world that I was growing up in, that made some kind of promise to me. And I don’t think that this is an experience that only queer trans people go through.”

    But it’s not just identity that’s being illuminated by all those screens that surround us — Schoenbrun says media has the potential to shape our reality. “I think we look for ourselves all around us as a species, and we’re looking to our parents to tell us who we are. We’re looking to society, we’re looking at our peers. But I think, especially in our media-saturated environment, we’re looking to the glow of the screen and we’re looking to fiction to help define our understanding of reality.”

    Mia Galuppo

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  • Berlin Fest Pulls Invites for Far-Right Politicians After Backlash

    Berlin Fest Pulls Invites for Far-Right Politicians After Backlash


    The Berlin Film Festival has pulled invites for members of the German far-right Alternative for Germany (AfD) party for the opening ceremony of the 2024 Berlinale on Feb. 15 after a media backlash.

    “We have… today written to all previously invited AfD politicians and informed them that they are not welcome at the Berlinale,” Berlinale’s directors Mariëtte Rissenbeek and Carlo Chatrian said in a statement on Thursday.

    The invitations offered to AfD politicians Kristin Brinker and Ronald Gläser, both members of the Berlin State Parliament, led to a group of film professionals from Berlin and abroad signing an open letter to the festival protesting the decision. The letter stated the invitation to AfD politicians was “incompatible” with the Berlinale’s commitment “to being a place of ’empathy, awareness and understanding,’” the filmmakers wrote.

    Fest organizers in their announcement acknowledged “an intense discussion in the cultural sector, in the press and on social media as well as within the Berlinale team about the invitations of AfD politicians, a right-wing extremist party, to the opening of the Berlinale.”

    “Especially in light of the revelations that have been made in recent weeks about explicitly anti-democratic positions and individual politicians of the AfD, it is important for us — as the Berlinale and as a team — to take an unequivocal stand in favour of an open democracy,” Rissenbeek and Chatrian added in their statement.

    The Berlinale is largely state-funded, with the federal government providing around $14 million to the festival annually. The AfD is not currently part of the government federally or in any of the German states, but the party has been gaining support and is currently polling second nationwide at around 20 percent of the vote.

    “In times when right-wing extremists are moving into parliaments, the Berlinale wants to take a clear position by taking a clear stance with today’s disinvitation of the AfD. The discussion on how to deal with AfD politicians also affects many other organisations and festivals. This debate must be conducted across society as a whole and together with all democratic parties,” the festival added.

    The controversy over the AfD politician invites also follows in recent weeks hundreds of thousands of Germans taking to the streets to protest a report by the investigative group Correctiv that revealed details of a meeting between senior AfD members and wealthy German corporate figures where they discussed a plot to deport asylum seekers and German citizens of foreign origin en masse once they came to power.



    Etan Vlessing

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  • Berlin Film Festival Names Tricia Tuttle as New Director 

    Berlin Film Festival Names Tricia Tuttle as New Director 

    The Berlin Film Festival has appointed Tricia Tuttle, the former head of the BFI London Film Festival, to become the new director of the international film event starting in 2024.

    Tuttle will succeed Carlo Chatrian and Mariette Rissenbeek, who have co-led the Berlinale as artistic and executive directors since 2020 and will step down after this year’s edition when their respective mandates end.

    The Berlin Film Festival is the world’s second biggest international film festival after Cannes. It also hosts the European Film Market, a crucial industry gathering where independent films are pitched and sold.

    Tuttle was the director of the BFI London Film Festival during a fast-growing five-year era in which audiences nearly doubled before she stepped down after the 2022 edition. She worked as the festival’s deputy for five years before that to her predecessor Clare Stewart. She helped the festival expand outside of London with venues set up across the U.K. About one third of the festival screenings were outside London in 2021. Tuttle also worked for five years at BAFTA as film program manager.

    Speaking at a press conference alongside Claudia Roth, Germany’s culture commissioner, in Berlin Tuesday, Tuttle started by apologizing for not speaking German. She added: “I will in a year have been attending the Berlinale for more than a decade. I have always loved that Berlin is glamorous, political and provocative. It’s a hugely important meeting place for the world’s film industry.”

    Roth said: “In her interviews, [Tuttle] impressed us with her clear ideas to create a modern and team-orientated festival and timely sponsoring model. She’s the absolute best choice to lead the Berlinale. She brings 25 years of experience. The BFI London Film Festival not only had an enormous growth in audience but also importance. She made the festival more colorful and more diverse and opened it up to a wider audience.”

    Tuttle added, “The Berlinale is a leader amongst A-list film festivals — welcoming and inclusive, and brimming with a breath-taking diversity of films. It’s a festival that shows cinema as a most vibrant, often magical artform, one which can transform how we see the world and how we understand each other. What an immense thrill and privilege it is to have this opportunity to lead this important festival. I look forward to a very successful Berlinale in 2024, and to joining the team afterwards.”

    Tuttle was appointed by a six-member committee which included Oscar-winning director Edward Berger (“All Quiet on the Western Front”); producer Roman Paul (“Paradise Now”); Anne Leppin, the German Film Academy’s now sole managing director; actress and producer Sara Fazilat; State Secretary Florian Graf, head of the Berlin Senate Chancellery; and Roth.

    While Rissenbeek decided to step down following the 2024 edition, Chatrian was not given the opportunity to serve a second mandate by the governing body of the Berlinale, the Kulturveranstaltungen des Bundes.

    Explaining the decision to set a new leadership, Roth she said wished to see the festival be led and represented by one person instead of having a dual leadership.

    More than 400 filmmakers and talents, among them Martin Scorsese, Paul Schrader, Béla Tarr, Olivier Assayas, Kirsten Stewart and Margarethe von Trotta, signed a petition to protest against the culture commissioner’s decision and demand a prolongation of Chatrian’s contract.

    As announced on Monday, this year’s Berlin Film Festival jury will be presided over by Lupita Nyong’o, the Oscar-winning Kenyan-Mexican actor and filmmaker. The 74th edition will run Feb. 15-25.

    Elskes

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