Berlin Market: ‘The Medium’ Thai Horror Film Unites Banjong Pisanthanakun and Korea’s Na Hong-jin

Mark Schilling Japan CorrespondentFollowing his win of the Silver Bear Grand Jury Prize at the recently concluded Berlin Film Festival for “Wheel of Fortune and Fantasy,” 42-year-old Hamaguchi Ryusuke suddenly finds himself catapulted to the directorial front ranks in his native Japan.It’s not that he’s exactly obscure there: Hamaguchi’s 2018 romantic drama “Asako I & II” was selected for the Cannes competition while his 2015 breakthrough, the five-hour-plus drama “Happy Hour,” won a group best

John Hopewell Chief International CorrespondentBerlin Grand Jury Prize winner “Wheel of Fortune and Fantasy,” Japanese writer-director Ryusuke Hamaguchi’s deft three-story reflection on chance, the legacy of love and the contrariness of erotic desire, has clinched further key territory sales for its sales agent M-Appeal World Sales.Fast on the footsteps of clinching the top Berlinale 2021 Silver Bear in March 5’s Berlin prize announcement, “Wheel of Fortune and Fantasy” this week closed Spain

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.

Netflix, again, made all the headlines. The streaming giant closed out Berlin's European Film Market — an all-online affair this year that wrapped on Friday — with a jaw-dropping $55 million deal for worldwide rights to The Pale Blue Eye, a Gothic horror-thriller set in 1830 that will re-team star Christian Bale with his Hostiles director Scott Cooper.

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

With 2012’s Abraham Lincoln: Vampire Hunter sadly yet to have spawned a Marvel-style cinematic universe, Karl Marx and neck-chomping Dracula types might seen unlikely movie bedfellows. But the two collide like never before in a 2021 Berlinale Encounters title that also boasts one of the festival’s most eye-catching film loglines.

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.

Leo Barraclough International Features EditorSales agent M-Appeal has closed further territory deals for Japanese filmmaker Ryūsuke Hamaguchi’s “Wheel of Fortune and Fantasy,” which just won the Silver Bear Grand Jury Prize at the Berlin Film Festival.Benelux rights have gone to September Film, and StraDa Films has picked the film up in Greece. September Film plans to release the title theatrically post pandemic.

Japanese filmmaker Ryusuke Hamaguchi returns to what are fast becoming his signature themes in Berlin competition contender Wheel of Fortune and Fantasy: Odd coincidence, mysterious doubling, and intelligent women compelled by powerful but uncertain feelings. Many critics likened Hamaguchi's 2015 breakthrough, Happy Hour, to a sprawling literary novel (the film was five hours long and won plaudits for its beguiling dialog and finely observed set pieces).

The first thing to understand about the social dynamics in Mexico around police is that they differ greatly from how the public in the United States relates to law enforcement officers. Stateside, both the uncritical reverence some feel toward them—namely the Blue Lives Matter crowd—and the terror they incite among BIPOC communities emanate from their violent efficaciousness and status as inflexible figures reveling in a lack of accountability.

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.

Japanese writer-director Ryusuke Hamaguchi won wide acclaim and festival prizes with his 2015 breakthrough feature, the bittersweet ensemble drama Happy Hour. But the nuanced, novelistic eye behind that delicately observed five-hour epic seemed to desert Hamaguchi on his 2018 anti-romance Asako I & II, which premiered to lukewarm reviews in Cannes.

Patrick Frater Asia Bureau ChiefTriumph and pain were bedfellows last year for the Korean film industry. But Berlin’s European Film Market and the imminent Hong Kong FilMart see Korean companies putting on a brave face.Korean cinemas were in defensive mode early on in the coronavirus pandemic, as a population familiar with epidemics chose to stay away from crowded places.

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.

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.

It’s always interesting to see what an actor will deliver as they make the step towards directing, and for “Next Door” director and star Daniel Brühl has not shied away from a premise that closely parallels, yet distorts, his own life. It’s a film that explores a space of conversation highlighted to great effect in Bong Joon-ho’s recent towering success, “Parasite,” toying with societal dichotomies and opening up discussions around wealth, class, gentrification, and spatial divides.

South Korean filmmaker Hong Sangsoo has been a particular favorite at the Berlin Film Festival for quite some time — he won the Best Director prize there last year for The Woman Who Ran — and he’s back again this year with another competition entry, Introduction.

Spain brings an extraordinary gamut of movie titles to Berlin. Some highlights:“All the Moons,” (Igor Legarreta)A France-Spain co-production, “All the Moons” tracks two vampires in the northern Spain during the last Carlist war.

There’s no doubt about it, it’s all in the eyes: an ice-blue stare, locked on you, promising satisfaction and loyalty without asking for anything in return. That’s what love is, and Dan Stevens is the humanoid robot here to give it to us.