Blurring Fact and Fiction: How a Handful of Berlin Titles Force Viewers to "Wonder What's Real"

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: 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.

Before Bridgerton, before The Crown, there was Sisi. The real-life, 19th-century royal romance between Elizabeth "Sisi" of Bavaria and her husband, Austrian-Hungarian Emperor Franz Joseph, was turned into a series of iconic films in the 1950s, starring legendary Austrian actress Romy Schneider as Sisi.

Christopher Vourlias Following hot on the heels of the recently wrapped Berlin Film Festival, this year’s online edition of the Hong Kong Intl.

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.

Jessica Kiang The public, the private and the deeply personal run on parallel tracks in French director Alice Diop’s documentary “We,” a series of vignettes of life along the RER B, a railway line running through the suburbs and exurbs of Paris out to the surrounding countryside.

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.

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.

Naman Ramachandran International sales agency The Open Reel has scored a number of sales at the Berlin European Film Market (EFM).Daniel Sánchez López’s BFI Flare LGBTIQ+ Film Festival selection “Boy Meets Boy,” a German production, has sold to Peccadillo Pictures for the U.K. and Ireland and to Optimale to France and Francophone territories.

Manori Ravindran International EditorParis-based Totem Films has scored a raft of international sales on Iranian directors Behtash Sanaeeha and Maryam Moghaddam’s Berlin Film Festival competition entry, “Ballad of a White Cow.”“Ballad of a White Cow,” as sales agent Totem notes, is the story of a woman’s struggle for justice, recognition and independence in today’s Tehran.

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.

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.

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.

John Hopewell Chief International Correspondent“Natural Light,” a portrait of the attrition and atrocity of war set at a benighted village in occupied Western Soviet Union in 1943, has clinched its first sales as Paris-based Luxbox rolls out the Berlin Competition player at the European Film Market.Nour Films, whose past pickups include Berlin Golden Bear winner “Touch Me Not,” has closed rights to France.Nour will open “Natural Light” “with great conviction and pleasure” on at least 60 prints

Jamie Lang For the third year in a row, Netflix has a film in the main competition at the Berlin Film Festival. This year, Alonso Ruizpalacios’ “A Cop Movie” follows the path first blazed by Isabel Coixet’s “Elisa Y Marcela,” which at the time was met with a letter from 160 German independent exhibitors demanding the film be removed from competition.