Berlin: Pre-Sale Projects of the Pandemic — Where Are They Now?

Elsa Keslassy International CorrespondentWhile Cannes’ Marché du Film will run alongside the festival in July, the industry event has confirmed it will also organize pre-Cannes screenings at the end of May.“Due to the unusually long delay between the EFM in Berlin and the Marché du Film in Cannes, many international sales agents have expressed the need for an intermediate event in the spring, which will allow them to do business and to network virtually, while awaiting the big rendez-vous in

International buyers have jumped on Maria Schrader's I'm Your Man, and the Daniel Brühl-directed Next Door, both of which premiered in competition at the Berlin International Film Festival last week.

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.

Emilio Mayorga Breathing in its deadly gases, Yono works for a few dollars a day at an East Java sulfur mine. When unexpectedly abandoned by his wife, he turns to animism, Islamism and finally capitalism­­ to try to find an answer to life.

Denis Cotes' absurdist French language comedy Social Hygiene opens with a wide shot of Antonin, a philosopher-cum-petty thief, standing in a field more than two meters from his long-suffering sister Solvieg in a scene dominated by a lush Quebec countryside.

Laetitia Eido, the French actress known to fans of Netflix's Israeli drama Fauda as Dr. Shirin El Abed, has signed on to co-star in Nhiem, a new high-end television series set during the Vietnam War from New Zealand director Roger Donaldson (The World's Fastest Indian) and German production group Carte Blanche International.

For Rena Owen, it was the role of a lifetime.

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.

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.

In Dasha Nekrasova’s feature directorial debut, The Scary of Sixty-First, New York City is a desolate place. The sky is a muddy beige with no indication of sun.

Rebecca Rubin Film and Media ReporterNeon has acquired North American rights to Céline Sciamma’s latest feature, “Petite Maman,” following its premiere at the Berlin Film Festival.The sale reunites Sciamma with Neon, the New York-based independent studio that released her acclaimed drama “Portrait of a Lady on Fire.”Written and directed by Sciamma, “Petite Maman” follows 8-year-old Nelly, who loses her beloved grandmother and goes to help her parents clean out her mother’s childhood home.

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.

With much of the world having experienced the longest year in living memory since last February, only hardened film history buffs may recall the 2020 Berlinale, the last major festival and market to take place physically before the COVID-19 pandemic led to global cinemas began shutting their doors and considering some unfortunate existential questions.

U.K.-based sales outfit Alief has racked up a series of international territory deals for Isaac, a romantic drama from directors Ángeles Hernández and David Matamoros, about two childhood friends who reconnect as adults. Hernández and Matamoros were both producers on Netflix's Spanish-language horror hit The Platform.

Halfway through and Berlin's European Film Market is starting to heat up, with a number of deals being signed for finished features. In a pair of domestic acquisitions announced mid-market, Kino Lorber snatched North American rights to Luzzu, Alex Camilleri's directorial debut, which premiered at Sundance, and fellow New York distributor FilmRise took U.S.

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.

EXCLUSIVE: New York-based distributor FilmRise has struck a deal with sales firm WaZabi Films for U.S. rights to TIFF 2020 and Berlin 2021 drama Beans.

Berlinale Encounters hated to Variety about his latest feature before its world premiere on March 3. Cote, in interview, flows.