‘A Cop Movie’: An Incisive & Formally Daring Deep Dive Into Mexico City’s Police Force [Berlin Review]

her big Grammys night, the singer was in Mexico for what's believed to be a fashion project. Social media videos show at least one fan rushing her as she left a building the evening of March 20.

Dua Lipa is said to have been “shaken” after she was mobbed by a group of fans as she arrived in Mexico.Footage on social media shows the singer being surrounded by a group of frenzied fans after arriving in Mexico City for work on Saturday (March 20).

Peter Debruge Chief Film CriticSlick, unsettling Danish law-enforcement thriller “Shorta” — or as it’s been generically retitled in the United States, “Enforcement” — opens with a familiar “I can’t breathe” moment as a team of police scramble to restrain a 19-year-old Muslim man, suggesting that what happened to Eric Garner in Staten Island, and to George Floyd in Minneapolis, is hardly an America-specific problem.

Netflix film A Cop Movie, from Mexican director Alonso Ruizpalacios, which premiered in competition at the Berlin Film Festival last week, starts off like any fly-on-the-wall documentary. We meet Teresa, a cop in Mexico City, and follow her through her daily routine as she narrates her life via voice-over.

Filmed in glossy black and white, and adopting a non-judgmental vérité approach, director Carlos Alfonso Corral’s debut is a humanizing look at a small section of the homeless population in El Paso, Texas. “Dirty Feathers,” is a short, but thematically rich, film about those on the margins of society.

It’s 1943. A particularly cruel winter has swept through the occupied Soviet Union.

One year in the life of a teenager can feel like an eternity. The intensity of the fleeting romances, the wild swings between happiness and despair, the thrilling yet uneasy anticipation of a future that seems simultaneously imminent and distant — it’s a wonder that we come out of adolescence intact.

How often does the cosmos grant us love at first sight? What if you were to be given such an exceptional gift, derived from an impossible encounter in the middle of the street, only for it to be teasingly snatched away? You may think it far from likely, but this is precisely what happens to Giorgi (Giorgi Bochorishvili), and Lisa (Ani Karseladze) in “What Do We See When We Look at the Sky? Continue reading ‘What Do We See When We Look At The Sky?’: Alexandre Koberidze Creates A Compelling Fable

Alejandro G. Iñárritu is underway on his first feature in the director’s chair since he won three Oscars for The Revenant.

As industry guests enjoy the Berlinale from home this year, eagle-eyed viewers will take pleasure in spotting a familiar location in the latest film from South Korean auteur and festival-regular Hong Sang-soo. If we can’t stroll around Potsdamer Platz this year, at least the characters in “Introduction“ can share a moment there.

The two most mature and emotionally insightful seven-year-old girls you’ve ever encountered in your life are the subjects of Petite Maman. Magnetically attentive to the serious “things of life,” as the French put it, Céline Sciamma’s 72-minute study of an intense brief friendship between two girls of extraordinary similar looks prioritizes insight and emotional awareness over any artificial plot constructs. The result is a piercingly satisfying chamber drama with a lovely intimate feel.

Alissa Simon Film CriticFor the first time ever, two Hungarian films are competing for the Berlinale’s Golden Bear: “Forest – I See You Everywhere,” a standalone sequel to the 2003 Berlinale hit “Forest,” from veteran auteur Bence Fliegauf, and “Natural Light” from feature debutant Dénes Nagy.

The latest from T.J.Martin and Daniel Lindsay, directors of “Undefeated” and “LA 92,” “TINA” looks like another documentary that came off of a factory line, complete with the usual panning shots of contact sheets, dramatic zooms into rolling tapes, cross-cutting between audio interviews and their published print versions, melodramatic score cues doing their best to emulate Philip Glass.

There is an unavoidable distance in life between ourselves and those who came before. Parents, grandparents; no matter how open and honest they are with their children or younger relatives, there is a sense that their pasts remain partial enigmas.

Despite its simple title, Mexican filmmaker Alonso Ruizpalacios’ latest feature is far from a simple shoot-'em-up cop movie. It’s more like a cop movie written by Jacques Derrida, directed with nods to Wes Anderson and Jean-Luc Godard and then remixed by Abbas Kiarostami in its efforts to tear down the fourth wall.

Ben Croll Playing in Berlin’s Encounters sidebar, the French documentary “We” spins a tapestry of small moments and personal recollections, finding connections in the lives of migrants, immigrants, lovesick teens and retirees without downplaying their hardships.

Jamie Lang For the third year in a row, Netflix has a film in the main competition at the Berlin Film Festival. This year, Alonso Ruizpalacios’ “A Cop Movie” follows the path first blazed by Isabel Coixet’s “Elisa Y Marcela,” which at the time was met with a letter from 160 German independent exhibitors demanding the film be removed from competition.

For the students at a remote boarding school for Kurdish boys, survival is a matter of course, particularly during the frigid depths of winter. The meals are meager, the heating doesn’t work, and even the principal’s car won’t start.