Berlin Panorama Doc ‘Under the Sky of Damascus’ Records the Silent War Against Women in Syria

Elsa Keslassy International Correspondent Sony Pictures Classics has bought “The Teachers’ Lounge,” Ilker Çatak’s drama which world premiered at the Berlin Film Festival, for North America, Latin America and Eastern Europe (excluding Hungary). “The Teachers’ Lounge” marks the fourth feature from Çatak, who co-wrote the screenplay with Johannes Duncker. The movie played in the Panorama section and won the Europa Cinemas Label award for Best European film, as well as the CICAE Arthouse Cinema Award. Produced by Ingo Fliess and shot by award-winning cinematographer Judith Kaufmann (“Corsage”), “The Teachers’ Lounge” stars Leonine Benesch (“The Crown”), Michael Klammer, Rafael Stachowiak, and Eva Löbau.

Bill Murray and star Jeannie Berlin set foot on the red carpet of the 2023 SAG Awards holding hands.Murray and Berlin appeared quite close when they arrived together for Sunday's soiree at the Fairmont Century Plaza in Los Angeles. The star wore a black tuxedo with a colorful bow tie, while Berlin sported an all-black suit and shades.Berlin, who portrayed Hadassah Fabelman in the Steven Spielberg film, was there for the film's nomination in the Best Ensemble Cast in a Motion Picture category.

At certain times in Emily Atef’s eponymous adaptation of Daniela Krien’s novel “Someday We’ll Tell Each Other Everything,” all one can hear is the irregular breathing of Maria (Marlene Burow). The molecules of oxygen leave the sprawling fields of rural Germany and hastily make their way through the young girl’s lungs, the surge of adrenaline in her bloodstream directly increasing the frequency of respiration.

The films of Jennifer Reeder have an unmistakable vibe. Her acclaimed short films, including “All Small Bodies” and “Crystal Lake,” have been shown on The Criterion Channel, and her feature film “Knives and Skin” has been shown at Berlin and Tribeca.  READ MORE: ‘Inside’ Review: Vasilis Katsoupis’ Heist Thriller With Willem Dafoe Is Formulaic Yet Never Dull [Berlin] Reeder’s films, which have been described as the meeting point between David Lynch and John Hughes, share little in terms of plot, but all bear an unmistakable eeriness, an otherworldliness that could only be Reeder.

Martin Dale Contributor Portuguese producers Pandora Cunha Telles and Pablo Iraola, of Ukbar Filmes, are bringing a delegation of six Portuguese women helmers to the Berlinale, to showcase their ambitious project “Told by Women,” – a slate of 10 TV movies by 10 first-time women filmmakers – coproduced with Portuguese public broadcaster, RTP. The producers have lined up an intensive mentoring experience with leading international women producers that aims to endow them with the tools to embrace new challenges. The first season of five films of “Told by Women” was broadcast by RTP in October 2022, to strong ratings, and the second season of five films will bow this spring.

Nick Vivarelli International Correspondent In the first few months of 2020, huge swathes of Northern Italy were hit by the COVID-19 virus. Soon the death toll in the city of Bergamo reached such heights that an army convoy had to transport coffins out because its cemeteries and crematoriums were full. In his powerful doc “The Walls of Bergamo,” which world premieres on Friday in Berlin’s Encounters section, prominent Italian documentary director Stefano Savona – whose “Samouni Road” won the Golden Eye prize in 2018 at Cannes – and a team of student filmmakers take the pulse of the city when it is on the brink of collapse and, subsequently, as Bergamo begins its healing and recovery process.

Naman Ramachandran Berlin’s just concluded European Film Market (EFM), which had a physical edition this year after two online editions in 2021 and 2022 due to the pandemic, has reported “record results” according to the organizers. There were 230 stands and 612 companies from 78 countries and more than 11,500 market participants from 132 countries. Some 773 films were shown in 1,533 screenings, including 647 online screenings and 599 market premieres. The total number of buyers also rose to 1,302. 629 film projects were presented on the new Producers & Project Pages. “After the past two irregular years, we’re pleased to return to the physical in full force, and with a vibrant, bustling and strong market. The exhibition areas at Gropius Bau and the Marriott Hotel were sold out, and the exhibitors reported strong sales and good business. The decision to group all the market happenings together with the Berlinale Series Market and the market screenings at Potsdamer Platz, and to provide the industry with an efficient infrastructure, was extremely well-received by our market participants,” said EFM director Dennis Ruh.

Nick Vivarelli International Correspondent Veteran auteur Mario Martone, whose Naples-set drama “Nostalgia” launched last year from Cannes, has quite a lot in common with Massimo Troisi, Italy’s beloved late comic actor-director who is best known internationally as the star of Oscar-winning film “Il Postino.” Which is why Martone was well-suited to direct the multi-layered doc about Troisi’s legacy “Somebody Down There Likes Me” that is screening in the Berlinale Special sidebar. For starters, they are both Neapolitan, and were born only a few years a part. Troisi – who in “Il Postino” played the simple postman who rides his bicycle on a sandy Italian island to deliver mail to his sole client, the Nobel Prize-winning poet Pablo Neruda – died tragically of congenital heart failure at age 41 in June 1994, the day after “Il Postino” finished shooting at Rome’s Cinecittà studios.

With her feature debut, “The Chambermaid,” Mexican writer-director Lila Avilés materialized a graceful character study of a hardworking mother. Though enriched via the meaningful interjections of its supporting players, the narrative had a singular focus.

There’s a pretty traditional formula that most music documentaries follow. They’ll often center around a standard birth to mainstream success overview, populated with talking heads and contemporaries to contextualize the music, politics, and social scenes.

Director Vasilis Katsoupis tells the audience exactly what “Inside” is about to do from its very first scene. The disembodied voice of Willem Dafoe narrates a childhood fable fished from the depths of memory.

Millions of women in the Muslim world live under the dominion of men, subject to their rules, confined by their power. The documentary Under the Sky of Damascus, making its world premiere tonight at the Berlin Film Festival, examines the alarming gender politics in one ancient locality — the capital of Syria.

From “Rosa Luxemburg” in 1986 to 2012’s “Hannah Arendt,” the films of Margarethe Von Trotta, an icon of the New German cinema, have put strong female protagonists center-stage in renditions of German history. For her latest, Von Trotta paints a portrait of German poet Ingeborg Bachmann, author of essays, radio dramas, and opera libretti.

The audiences at Berlin International Film Festival tend to be respectful and engaged.

Young Belarusian Aleksei (Franz Rogowski) is impatient for a better life in Europe. Coming from a country under dictatorship and with very strong Russian ties, the political isolation of which has made it suffocating for the younger generations, he is seduced by the idea of a borderless, communal whole where everybody counts for something.

Leo Barraclough International Features Editor Sales agency Memento Intl. has unveiled the first clip and poster from Liu Jian’s Berlin competition title “Art College 1994,” which world premieres on Feb. 24. The film is a portrait of youth set on the campus of the Chinese Southern Academy of Arts in the early 1990s. Against the backdrop of reforms opening China to the Western world, a group of college students live in full swing as they take their first steps into adulthood, where love and friendships are intertwined with artistic pursuits, ideals and ambitions. Caught between tradition and modernity, they now have to choose who they want to become. It is the director’s third animation feature after 2010’s “Piercing I” and “Have a Nice Day,” which premiered in competition at the Berlinale in 2017, and quickly built a cult following. “Have a Nice Day” was also honored with the best animated feature award at the Golden Horse Awards in Taiwan.

For almost four years of siege in the 1990s, the city of Sarajevo concussed from shelling, the rumblings of armored vehicles and the repeated pop of sniper fire.

Matt Damon revealed he is in the early stages of research in a documentary project tackling the war in Ukraine at the Berlin Film Festival on Sunday.

Like so many young performers, Sydney Sweeney proved that she was a star before she could get the chance to prove that she was a well-rounded actor. Her name-making gigs as a vindictive, canonically gorgeous high schooler on TV’s “Euphoria,” a vindictive, canonically gorgeous college sophomore on “The White Lotus,” and a vindictive, canonically gorgeous recent grad in the “The Voyeurs” all required her to channel an innate charisma toward variations on a broadly consistent type, her abilities yet to be stretched far enough to chart their full potential.