Berlin theater manager quits after harassment claims

EXCLUSIVE: Cinema Guild has acquired North American distribution rights to Rock Bottom Riser, a documentary that received a Special Mention from the Encounters jury at the 2021 Berlin Film Festival where it premiered earlier this month. It’s the first film by Fern Silva, who wrote, directed, and produced the documentary. Cinema Guild has slated it for a 35mm theatrical tour planned for 2022.

Christopher Vourlias Cercamon has closed major sales for “What Do We See When We Look at the Sky?,” from Georgian director Alexandra Koberidze, which had its world premiere in competition at the Berlin Film Festival.The Dubai-based indie specialist has sealed a multi-territory deal with MUBI, the global distributor and streaming service, which includes the U.S., where the film will be released this fall, Canada, Italy, India, Turkey, and Latin America.Pic has also been sold to the U.K.

EXCLUSIVE: In a competitive situation, the UK office of Mark Gordon Pictures has won film and TV rights to Calla Henkel’s debut novel, Other People’s Clothes, and set Emmy-nominated Unorthodox co-writer and co-creator Alexa Karolinski to adapt.

EXCLUSIVE: Cinema Guild has secured the North American distribution rights to Expedition Content, a documentary that premiered in the Forum section at the 2020 Berlin International Film Festival and had its U.S. debut as part of Film at Lincoln Center’s Art of the Real. Directed by Ernst Karel and Veronika Kusumaryati, the doc will be released in theaters later this year.

EXCLUSIVE: Fresh off its world premiere in the Berlin International Film Festival’s competition program, where it won the Silver Bear Jury Prize, Maria Speth’s feature documentary Mr Bachmann And His Class has sold into multiple territories.

Leo Barraclough International Features EditorARRI Media has closed a deal with Crescendo House – a new boutique distribution company – for North American rights on Marxist vampire comedy “Bloodsuckers,” following its world premiere at the Berlin Film Festival.The film, which screened as part of the Berlinale’s Encounters section, was written and directed by Julian Radlmaier.Radlmaier’s script was praised by the jury as being “extravagant, bizarre, and hilarious” when he was presented with the

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.

EXCLUSIVE: Indie stalwart Cassian Elwes is making a move into management via his Elevated banner, kicking off with signing Best Sellers director Lina Roessler, whose debut feature starring Michael Caine and Aubrey Plaza screened in the Berlin Film Festival’s Special Gala section this week. It’s the first time the film producer and former co-head of William Morris Independent has moved into the management space.

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.

Late Wednesday, Critics Choice Association chief Joey Berlin sent a missive to members of the organization that was, well, critical of the Hollywood Foreign Press Association and its disastrous Golden Globe Awards telecast last weekend.

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.

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.

The Berlin International Film Festival is standing by its 2021 premiere Black Bach Artsakh, which debuts in the Forum Expanded program during this month’s virtual event, after the film’s synopsis provoked an online backlash.

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.