Bangladesh’s Rubaiyat Hossain Sets Berlin Co-Production Market Project ‘Difficult Bride,’ Women Filmmaker Grant

German-Turkish film director, screenwriter, and producer Fatih Akin has signed a first-look deal with WarnerMedia, the first such agreement the filmmaker has made in his career.

This Much I Know to Be True, the latest feature from Andrew Dominik which recently debuted at the Berlin Film Festival, has been set for a May theatrical release by Trafalgar Releasing.

Naman Ramachandran Following its world premiere at the Berlin Film Festival, Trafalgar Releasing has set a May worldwide cinema release for Andrew Dominik’s “This Much I Know to Be True.”Shot on location in London and Brighton, the film captures the creative relationship of revered musicians Nick Cave and Warren Ellis’ as they bring to life the songs from their last two studio albums, “Ghosteen” (Nick Cave & the Bad Seeds) and “Carnage” (Nick Cave & Warren Ellis). The film serves as a document of their first ever performances of these albums, filmed in spring 2021 ahead of their U.K.

EXCLUSIVE: IFC Films has set a July 8 stateside release date for Claire Denis’ Berlin Film Festival winner Fire, starring Juliette Binoche and Vincent Lindon.

As the people of Ukraine wake up to the reality of war, many of the country’s top filmmakers and industry professionals have issued statements pleading for international intervention.

K.J. Yossman Sky have released first look images for a new Sky Original drama, “Unwanted.”Inspired by the book “Bilal,” an investigative book from journalist Fabrizio Gatti, the eight-part series tells the story of an undercover human rights defender who is helping migrants journey from Africa to Europe as they battle human traffickers and government officials.Stefano Bises (“Gomorrah”) created and wrote the series in collaboration with with the collaboration of Alessandro Valenti, Bernardo Pellegrini and Michela Straniero.

Anna Marie de la Fuente Kazakh filmmaker Askar Uzabayev’s domestic violence drama “Happiness” snagged the Audience Award in the Berlin Film Festival’s prestigious Panorama sidebar, a good sign of its potential appeal in cinemas and festivals worldwide. Whether it will secure distribution in its native Kazakhstan is another matter, however.Based on actual events, “Happiness” centers on a lovely influencer who promotes a product line called Happiness, which she pitches as a surefire path to happiness, beauty and success.But her home life reflects the opposite where her abusive husband grows ever more violent.

Emiliano Granada World premiering in the Berlinale’s Forum, “Dry Ground Burning” marks the second feature collaboration between directors Joana Pimenta and Adirley Queirós, after Pimenta DP-ed Queirós’ “Once There Was Brasilia.”So it’s no surprise that by this point the directorial couple have refined a common language that in “Dry Ground Burning” delivers a movie that’s stylistically refrained, while walking a fine line between documentary and a fiction with sci-fi and Western overtones.Produced by Cinco Da Norte and Terratreme with Pimenta once again behind the camera, the duo returns to their portrayal of the inhabitants of Ceilandia, a district on the periphery of Brasilia which has been a recurring subject in both filmmakers work. The film follows sisters Chitarra and Léa, leaders of an all female gang who refines oil drawn from an oil pipeline to sell to motor bikers in the Sol Nascente favela.

The Berlin Film Festival’s industry wing, the European Film Market (EFM), has confirmed that 600 exhibitors from 62 countries took part in this year’s virtual edition, up from last year’s figure of 504.

Emiliano Granada Colombian-Canadian director Lina Rodríguez’s third feature, “My Two Voices”,  a 68 min documentary that through its short runtime  artfully orchestrates a polyphony of emotions, colors, textures and voices in its portrayal of three immigrant women.Produced by Canada’s Rayon Verde, the same production company behind her previous film “This Time Tomorrow,” Rodríguez’s meticulous approach interweaves the voices of Claudia Montoya, Marinela Piedrahita and Ana Garay Kostic as they share their experiences of immigrating to Canada. Energized by a rich soundscape, the film achieves a deep intimacy, while refusing to draw borders, between spaces, between voices, between there and here, who I was and who I am, between I and Us.

Berlinale Series Market. It has grown into one of continental Europe’s biggest TV events. Following, seven takes on this year’s edition.TV Tail Wags Film DogThe Berlinale Series Market used to be a burgeoning sidebar.

Winners are being announced for the 72nd Berlin International Film Festival. Follow the ceremony live via the below video feed from 7PM CET / 10AM PST, with the red carpet now underway.

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.

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.

Elsa Keslassy International CorrespondentTrustNordisk has closed a flurry of sales on a pair of 3D-animated family features, “Little Allan — The Human Antenna” and “The Super,” underscoring the market appeal of independent youth-skewing movies.“Little Allan – The Human Antenna” marks Danish film Amalie Naesby Fick’s follow up to her commercially successful debut “The Incredible Story of The Giant Pear,” which premiered in the the Generation Kplus section at Berlin in 2018. This year, the helmer has her daring drama series “Sex” selected for the Berlinale Series.The film takes place during summer vacation, when introverted, 11-year old Allan starts acting as a human antenna for his old neighbor, who thinks a huge invasion fleet from the outer space is on its way.

Outré horror maestro Peter Strickland is back. The filmmaker behind such Eurotica, vintage, throwback classics such as “Berberian Sound Studio” (2012), “The Duke of Burgundy” (2014), and “In Fabric” (2018), returns to the Berlin Film Festival this week (today, in fact), with his latest deliciously bizarro offering, “Flux Gourmet.” The premise? Something like beef within the culinary/sonic art collective world and a whole set of egos and intestinal issues.

Two years ago this month, the Southeast Asian nation of Myanmar witnessed a coup d’état, in which the Tatmadaw (the military) seized power from the democratically elected National League for Democracy and its leader Aung San Suu Kyi.

The adage “write what you know” works well for writer-director Peter Strickland with his Berlin Film Festival Encounters feature Flux Gourmet. The former member of The Sonic Catering Band makes rich work of a fictional culinary performance collective, while also tackling taboos in the depiction of stomach problems on screen.

Just as the Tiktok-ers and Instagrammites of the world had completed the mainstreaming of ASMR, master of the tactile Peter Strickland has returned to restore the unsettling, alien quality to sensation. In “Flux Gourmet,” his latest and most bizarre film — a hotly contested title he earns with this feverish stew of murdered turtles, torrid orgies, and heartrending fart-tending — texture is everything.

Outré horror maestro Peter Strickland is back. The filmmaker behind such Eurotica, vintage, throwback classics such as “Berberian Sound Studio” (2012), “The Duke of Burgundy” (2014), and “In Fabric” (2018), returns to the Berlin Film Festival this week (today, in fact), with his latest deliciously bizarro offering, “Flux Gourmet.” The premise? Something like beef within the culinary/sonic art collective world and a whole set of egos and intestinal issues.