Vertical Acquires Thriller ‘Firecracker’ Ahead Of Berlin Film Festival

Leo Barraclough International Features Editor Sebastian Stan, whose “A Different Man” screens in the Berlin Film Festival, Christoph Waltz and Tom Wlaschiha, the “Faceless Man” in “Game of Thrones,” were among the guests at Studio Babelsberg Night, the historic Berlin film studios’ party at Soho House Berlin held to celebrate the 74th edition of the festival. The event was supported by Mexican tequila brand Don Julio, the Motion Picture Assn. and Little Moons.

“Please make me a good wife to Wolf,” murmurs Agnes (Anja Plaschg) on her marriage night, head bowed in front of the crucifix she has already set up in the conjugal bedroom of the tumbledown stone farmhouse where she will live from now on. Wolf (David Scheid) is meanwhile carousing with his fellow villagers at the wedding celebration, in no hurry to join her. We are deep in the Austrian forest in the 1750s, where life is governed by the cruelties of each season and everything has its place. The point of a woman is to work and have children; anyone who fails in these conjoined vocations is simply a dead weight. Agnes will do her best, but her airy spirits are soon sinking.

For a time, it seemed like an auteur war was about to break out over Adam Sandler, with some of America’s most revered directors vying to find the right role for the comedian. It was rumored, but never confirmed, that Quentin Tarantino imagined him a key role while writing Inglourious Basterds, although this might have been wishful thinking from critics who saw the talented Sandler heading in the same direction as John Travolta until Pulp Fiction saved him from a lifetime of Look Who’s Talking movies. In the end, Paul Thomas Anderson got there first, with Punch Drunk Love (2002), although the glow of a bona fide arthouse hit didn’t last long, and Jack and Jill still happened less than ten years later.

It’s not often that a doc about the transformative power of cinema will deliberately use bad clips of the movies it’s talking about, but that’s part of the point of this insightful, sprawling film, corralled by director David Hinton. Though the masterpieces made by Michael Powell and Emeric Pressburger at the height of their big-screen, Technicolor powers were visually impeccable, their subversive emotional power could still pack a punch through a 16-inch TV screen, even from the most scratched, butchered, and washed-out black-and-white prints.

Leo Barraclough International Features Editor German filmmaker Nele Wohlatz‘s “Sleep With Your Eyes Open,” which had its world premiere on Saturday in the Encounters section of the Berlin Film Festival, tells a story about the search for a sense of belonging in a foreign country. It starts with Kai, a young Taiwanese woman with a broken heart, arriving at a Brazilian beach resort for a holiday. Here, her life crosses paths with a group of Chinese migrants living in a luxury tower block, and in particular a young woman called Xiaoxin, who accepts her fate, and Fu Ang, who is working in an umbrella store when we meet him but harbors ambitions to become wealthy.

Mahin’s friend Pouran likes talking about her ailments, real and imagined. More than that, she has something on her phone she is keen to show the ladies gathered for one of their regular lunches at Mahin’s place: the film she made of her colonoscopy. “That’s disgusting,” snorts Mahin (Lily Farhadpour). “I told her to marry! You wouldn’t be like this if you had!” Another of their wrinkly gang chips in. “What joy did our dead husbands ever bring us?” They all laugh, companionably.

Ellise Shafer Martin Scorsese was lauded with the Berlin Film Festival‘s honorary Golden Bear on Tuesday night, celebrating a lifetime of achievement in cinema. As he accepted the award, Scorsese — whose most recent film, “Killers of the Flower Moon,” is currently up for 10 Oscars — reflected on his career thus far and even teased a return to the festival “in a couple years.” Scorsese was introduced by German director Wim Wenders, who is also Oscar-nominated for his latest feature, “Perfect Days.” Wenders told a hilarious story, complete with a photo slideshow, about one of his earliest interactions with Scorsese at the Telluride Film Festival in 1978, where he came upon the director and his then-girlfriend Isabella Rossellini on the side of the road with a flat tire.

EXCLUSIVE: Beloved French actor Omar Sy stars in the debut feature from longtime producer Brandt Andersen in The Strangers’ Case, a searing and international ensemble that is world premiering at the Berlin Film Festival on Friday. Watch an exclusive clip above.

Korean director Hong Sang-soo is such a Berlinale favorite that his film in competition, featuring Isabelle Huppert as an apparently penniless tourist trying to scrape together a living in Seoul, is his sixth film to be invited to the festival since 2020 — remarkably, that’s not even his entire output over that time. He hits this pace by keeping things simple, shooting each film in just a couple of weeks with very few crew and small casts, most of whom have been his collaborators for years, and covering many of the key technical jobs himself.

Leo Barraclough International Features Editor The Berlin Film Festival hosted the 10 young European actors selected for the Shooting Stars program, run by European Film Promotion, at a gala event Monday. The presentation of the Shooting Stars took place prior to the screening of Claire Burger’s “Langue Étrangère,” which plays in competition.

EXCLUSIVE: Martin Scorsese is returning to the Berlin Film Festival tomorrow for the first time in a decade. The cinema legend, currently on the awards circuit with latest epic Killers Of The Flower Moon, will be feted with the Berlinale‘s highest honor, its lifetime achievement Golden Bear.

Somebody — or something — is speaking from inside a timber crate. “It’s so dark in here… a night so deep and opaque” read the subtitles; the voice is speaking in Fon, the local language of the West African country that was once called Dahomey and is now Benin. As the slats are nailed down, the voice is increasingly muffled; we are outside, but we are inside too, watching the light disappear.

Christopher Vourlias Africa’s growing screen industries are making their mark on the global stage, with three titles in the main competition at this year’s Berlin Film Festival, but how to unlock the continent’s still-untapped potential was a question on the minds of many at a conference hosted on Saturday by the European Film Market. A partnership between EFM and Prudence Kolong’s Stockholm-based consulting firm Yanibes, AfroBerlin was launched to give a platform to filmmakers from Africa and the diaspora and “to find a place where they can share stories and experiences and be heard,” said Kolong, who also organizes the Cannes Film Festival’s AfroCannes industry showcase.

There is a sense of a running gag in Hors du Temps (renamed Suspended Time for the English-language market). In his complex, autofictional 2022 TV series Irma Vep, Olivier Assayas cast as the director of a film called Irma Vep — a film he had, in fact, made in real life 20 years earlier — the actor Vincent Macaigne, who cheekily developed a version of Assayas that not only picked up on his distinctively reedy voice, but also nobbled his quirky irritability and sensitivities.

When Australian writer Lily Brett published her novel Too Many Men in 2001, critics marvelled at the light, comic tone she had managed to strike in a novel about the lasting impact of the Holocaust, passed down from one generation to the next. Families have their customary jokes; they squabble over the dinner table; they may be funny characters but, underneath it all, there is a consciousness of pain. That’s not an easy balance to strike, as a writer or as an actor.

What would you do if you could extend loved ones’ lives through their memories?

Grief is a concept that everyone with a heart can relate to, but it’s not always something that everyone with a brain can deal with. Riffing on Jean Cocteau’s 1950 classic Orphée and giving it a very modern makeover, French writer-director Jérémy Clapin explores that very paradox with Meanwhile on Earth, a strange, poetic, and endearingly surreal meditation on the counterintuitive ways in which we react when confronted with loss.

Mexican director Alonso Ruizpalacios has had a winning record coming to the Berlin Film Festival since 2013, when his film Gueros took the Best First Feature prize. Five years later he was back with his second, the sensational museum-heist film Museo, and deservedly won the Silver Bear for Best Screenplay. His third, A Cop Movie, which plays with the traditional docu form by using actors, won Best Documentary at Mexico’s Golden Ariel Awards.

Everyone knows that hotels — preferably isolated, ideally with very few guests — make the best settings for horror films. All that sad anonymity, all that provisional space ready to be filled with something really nasty. In Cuckoo, Alpenplatz, run by the excessively friendly Mr Konig (Dan Stevens) totally fits the bill.

Cillian Murphy and Matt Damon are stepping out for the premiere of their new movie!