‘Alcarràs’ Review: Carla Simón’s Latest Is An Expert Blend Of Vivid Cinematography & Naturalistic Performances [Berlin]

Resembling more of a personal tribute than exhaustive biography, Pietro Marcello‘s Lucio Dalla documentary, “For Lucio,” takes its title as an invitation. A rambling eulogy that is just as often confusing as it is profound, Marcello’s wisp of a film (running less than 80 minutes) may be missing key context for those not already versed in the life and music of the politically-oriented Italian singer-songwriter.

Many of Hong Sang-soo’s films are structured around a woman’s solitary wanderings. The single ladies played by Kim Min-Hee in “On the Beach at Night Alone” or “The Woman Who Ran,” or Lee Hye-Young in “In Front of Your Face,” are free radicals, moving from encounter to encounter and disrupting the equilibrium of the people they meet, as meandering conversations reveal a friend’s dissatisfaction or a couple’s disagreement.

Premiering in the Special Gala section of this year’s Berlinale, the latest film from Italian director Dario Argento is surprising in more ways than one. Rather than copy the style of the giallo films from the 1970s and 1980s that made him famous (“The Bird with the Crystal Plumage,” “Deep Red,” and “Suspiria,” to cite just a few), his “Dark Glasses” finds ingenious ways to retain the core of the giallo while adapting to our current times.

Jamie Lang SF Studios has announced that the 2021 Berlin Generation Kplus player “Nelly Rapp: Monster Agent” is getting a sequel. The original was a hit among kids and parents alike in its native Sweden and won a pair of Swedish Guldbagge Awards. Based on Martin Widmark’s popular children’s books of the same name, the film features rising star Matilda Gross as the titular Nelly, a young girl who, along with her dog London, are dragged into a world of ghosts, vampires and werewolves.Johan Rosell will direct with Jon Nohrstedt and Niklas Larsson producing for SF Studios.

The Sole family grows peaches. Round white peaches ripen first; then the flat white peaches that supermarkets like; then yellow cling peaches. Their farmhouse is surrounded by the plantation they have tended for three generations, promised to them in perpetuity by the current owner’s great-grandparents during the Civil War. Memories are long in their corner of Catalonia. Nobody remembers a time before peaches. Harvesting determines the rhythm of their rumbustious family life. When the fruit ripens, it’s all hands on deck.

BERLIN -- The Catalan family drama “Alcarràs” won the Golden Bear award for best movie at the Berlin International Film Festival on Wednesday.Director Carla Simón's film was picked from a field of 18 by a seven-member jury under American filmmaker M. Night Shyamalan.He said the movie was honored “for its extraordinary performances, from the child actors to the actors in their 80s, for the ability to show the tenderness and comedy of family and struggle, and for the betrayal of our connection and dependence on the land around us.”The film depicts a family that spends its summers picking peaches in an orchard in a village in Spain's Catalonia region, but faces new owners who plan to replace the peach trees with solar panels.Meltem Kaptan took the best leading performance honor for the title role in German director Andreas Dresen's “Rabiye Kurnaz vs.

It sounds like the set-up to a French New Wave film: a French au pair falls in love with an Irish pickpocket leading to a whirlwind romance that changes both their lives. It might be twee, but Joan Verra (Isabelle Huppert) lived it, and on a long, rainy, nighttime drive reflects on the intense, yet fleeting relationship of her youth.

Sat in front of a computer, musician Nick Cave reads a few questions aloud. These are deeply existential musings sent in by people he has never met.

Berlin Film Festival has staged its first in-person edition since 2020, soldiering on amid a wave of the COVID omicron variant in Germany and a last-minute virtual pivot for the European Film Market. Here are our main takeaways below:Film Industry Pining For In-Person Meetings Despite the EFM being online, a clutch of buyers and sellers made the trek to Berlin where they held a mix of online and physical meetings in the Marriott and a very bare Gropius Bau.

Emilio Mayorga Carla Simón’s first feature “Summer 1993” was a knockout; a Generation Kplus and Best First Feature award winner at the 2017 Berlinale and Spain’s 2018 Oscars submission, winning three Spanish Academy Goya Awards. The director has since become a reference within a new wave of Catalan women filmmakers that have broken out to considerable box office and festival success.Now, Simón competes in Berlin’s main competition with her sophomore effort “Alcarràs,” exploring her own roots through her adoptive mother’s family.Set in the so-called Catalan Far West, in a small village near Lleida, the film is shot entirely using non-professional actors.

The streets outside her window are dripping with hope, and yet Élisabeth (Charlotte Gainsbourg) is lost. It is Paris, 1981, a new president has been elected, and Élisabeth’s husband has left, claiming the thrillingness of motion by moving in with a new girlfriend while his ex is left with the stagnance of remaining, the apartment where they’ve raised their children, Judith (Megan Northam) and Matthias (Quito Rayon-Richter), at once comfortingly familiar and dreadfully new.

Isabelle Huppert, recipient of this year’s Honorary Golden Bear is unable to attend the Berlin Film Festival in person due to testing positive for Covid, the festival has announced.

Of all the unsolved mysteries in Claire Denis‘ new Berlin Competition film, the biggest may just be its U.S. retitling to a generic and not particularly representative “Fire.” The film’s English title in the rest of the world, “Both Sides of the Blade” — a line from the terrific Tindersticks track that ends the film —is not just cooler and more compelling.

Love letters rarely include knock-off Barbie dolls engaging in incest, but the conventional is often off the table when it comes to French director Bertrand Bonello. “Coma,” Bonello’s latest, begins with a miscellanea of incongruent images, zoomed in and blurred, an amalgamation of amorphous shapes that exacerbates the sharpness of the accompanying words.

Demystifying and questioning the very notion of authenticity, Jason Kohn’s informative and oddly riveting, diamond-documentary “Nothing Lasts Forever” is ostensibly about the oft-antagonistic relationship between natural and synthetic diamonds. Yet, diamonds are an in-road as Kohn explores the commodification of such abstractions as love and desire, questioning how exactly a shiny rock — one that isn’t even that rare — became a physical manifestation of commitment.

Juliette Binoche puts in another tremendous performance in Claire Denis’ drama Both Sides Of The Blade (aka Fire, and also aka Avec Amour Et Acharnement). The Berlin Film Festival competition title is an intimate slow-burner that sets a credible scene, but doesn’t quite deliver on the mystery it promises. 

A determined Turkish mother takes on the authorities in Rabiye Kurnaz Vs. George W. Bush, Andreas Dresen’s drama that takes a light approach to a moving true story. 

An imaginative insight into an 18-year-old’s mind, Bertrand Bonello’s Berlin Film Festival Encounters strand entry Coma comes with a preface: it’s dedicated to his teenage daughter. It aims to both reflect the concerns of her generation and to reassure her that some kind of rebirth will come after the pressures of lockdown during the Covid pandemic. Coma stars just two actors in-camera, with voice work from Gaspard Ulliel, who died tragically earlier this year. Bonello’s introductory comments about loss feel particularly poignant after the death of his Saint Laurent star. 

“Why do women wear their hair long?,” asks the irrepressible Dais of her mother Nana as she sits in front of the mirror, dressing her hair as if there were nothing more important in life. 
To all appearances, life moves slowly in 1960s West Java. Dais wants to have her hair short like Daddy’s, so she doesn’t have to spend so much time in the shower. And why, she goes on, do you wear it in a bun? “A woman must be good at keeping secrets,” replies Nana (Happy Salma) fondly. “What happens in her household is under her bun.”