‘Perpetrator’ Review: Jennifer Reeder’s Missing Girls Horror Is A Trip Dripping In Blood & Atmosphere [Berlin]

Charna Flam The so-called “crackberry” is back. IFC Films has released the first official trailer for the upcoming comedy-drama film, “BlackBerry,” which provides a peek into exactly how the handheld device revolutionized the cell phone industry. Director Matt Johnson, along with co-screenwriter Matthew Miller, adapted Jacquie McNish and Sean Silcoff’s book “Losing the Signal: The Untold Story Behind the Extraordinary Rise and Spectacular Fall of BlackBerry” for the big screen. Johnsonplays BlackBerry co-founder Douglas Fregin in the film, alongside Glenn Howerton as chair and co-CEO Jim Balsillie, Jay Baruchel as co-founder Mike Lazaridis and Cary Elwes as Palm CEO Carl Yankowski. The cast also includes Saul Rubinek, Michael Ironside, Rich Sommer, Michelle Giroux, Mark Critch and SungWon Cho.

starring Kirsten Dunst.  Other credits include Hulu’s “The Handmaid’s Tale,” HBO’s “True Detective,” “The Newsroom,” “Carnivale,” “True Blood” and “Six Feet Under”; Showtime’s “Homeland,” “Ray Donovan,” “The Tudors,” “Dexter,” “Weeds,” “Queer as Folk” and “The Borgias”; AMC’s “The Walking Dead”; FX’s “American Horror Story: Asylum” and “American Horror Story: Coven”; and the Emmy-nominated TNT miniseries “Into the West.”Additionally, he wrote and directed three award-winning feature films, including Samuel Goldwyn Films’ “Fugitive Pieces” starring Stephen Dillane and Rosamund Pike, which opened the Toronto International Film Festival; “The Five Senses” starring Mary Louise Parker, which premiered at Cannes Directors’ Fortnight; and “Eclipse” which played both the Berlin and Sundance festivals.His upcoming work includes Netflix’s sci-fi adaptation of Liu Cixin’s “The Three-Body Problem” trilogy from “Game of Thrones” writers David Benioff and. D.B.

Alissa Simon Film Critic Icelandic writer-director Hafsteinn Gunnar Sigurðsson (“Under the Tree”) makes a smooth transition to English-language directing with the high-concept comedy “Northern Comfort,” co-written with longtime collaborators Halldór Laxness Halldórsson and Tobias Munthe. It centers on a disparate group of people who share a disabling fear of air travel, which they are trying to overcome through a high-end fearless flyers course. As a final challenge, the class is scheduled for a short, roundtrip “exposure” flight during which they should face and conquer their phobias. But this practical plan soon runs into some literal and figurative turbulence. Combining human drama and absurdist comedy, “Northern Comfort” should fly into other festivals before making a comfortable landing at a boutique art-house distributor or streamer.

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.

wore what appears to be the , which features a structured blazer with a ruched waist and floor-length leather skirt. I'm only made more confident by the fact that Lawrence also wore Alaïa's , which were featured heavily throughout the collection by creative designer Pieter Mulier. Unlike , Jennifer Lawrence kept the blazer's lapels down, showing off a bit of skin with the braless, plunging look.

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.

In 1991, “Street Fighter” made history by introducing the world’s first playable female character in a fighting game, Chun Li. An expert martial artist and Interpol officer, Chun Li has a notorious sense of justice, with much of her arc dedicated to a tireless search for revenge for the wrongful killing of her father.

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.

Billed as the second installment of an elemental triptych, “Afire” comes after Christian Petzold’s 2020 film “Undine” where Paula Beer gave a Silver Bear-winning performance at Berlinale as the titular character, an urban historian and a mythical water spirit. As if the transition between them needed any smoothing out, the new film also relies on aquatic imagery to reinforce the claustrophobic premonition of smothering fires.

A cottage in the woods: isolated, idyllic and unavoidably reminiscent of some half-forgotten fairy tale. Unfortunately, Leon (Thomas Schubert) is not a country person. When his friend Felix’s car breaks down on the forest road on the way to the family holiday house where they both plan to work in peace and quiet, all Leon can hear are unnerving crackles in the undergrowth. Wild boar. Leon is definitely not a wild boar kind of guy.

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.

Actor John Malkovich is in Berlin to debut his latest pic Seneca – On the Creation of Earthquakes, and during a press conference Monday, he spoke to reporters about his relationship with his co-star, Julian Sands, who has been missing since January.

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

Naman Ramachandran Bollywood star Karisma Kapoor has made a triumphant return to acting with Zee Studios’ noir thriller “Brown,” the only Indian show at the Berlin Series Market Selects platform. Kapoor, one of the top movie stars in India in the 1990s and early 2000s, took a hiatus to devote time to her young family. She made a comeback with parenting-themed series “Mentalhood” for streamer ALTBalaji in 2020. “Brown” is her first acting gig since then. The series is based on the 2016 novel “City of Death” by Abheek Barua, adapted by Digvijay Singh, Sunayana Kumari and Mayukh Ghosh and directed by Abhinay Deo (“24: India”). It follows Rita Brown (Kapoor), a world-weary, recovering alcoholic, ace detective in the Kolkata police force belonging to the city’s small but influential Anglo-Indian community, who is assigned to the murder case of a young woman from a well-connected family.

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.

With an admirable cohesiveness, Mexican-Salvadoran director Tatiana Huezo (“Prayers for the Stolen”) has curated a body of work that often returns to familiar questions, subjects, and even precise images of evolving girlhood and untarnished nature. The filmmaker’s most fixed preoccupation is the spaces women carve for themselves and each other in communities where their safety, needs, and aspirations often suffer the tacitly violent tactics of patriarchal social norms.  Back to her documentary roots, Huezo follows her acclaimed fiction debut, “Prayers for the Stolen” (“Noche de Fuego”), with another multigenerational saga of mothers and daughters in a remote locale.

To this day, I am traumatized by the notion I could have killed my little brother. Six years younger, we had an age difference primed to maximize annoyance, his constant nagging the spark for my first foray with untethered fury.