‘Brother’s Keeper’ Is A Damning Study Of The Ruthless Inertia Of Bureaucracy [Berlin Review]

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.

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.

How often does the cosmos grant us love at first sight? What if you were to be given such an exceptional gift, derived from an impossible encounter in the middle of the street, only for it to be teasingly snatched away? You may think it far from likely, but this is precisely what happens to Giorgi (Giorgi Bochorishvili), and Lisa (Ani Karseladze) in “What Do We See When We Look at the Sky? Continue reading ‘What Do We See When We Look At The Sky?’: Alexandre Koberidze Creates A Compelling Fable

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 two most mature and emotionally insightful seven-year-old girls you’ve ever encountered in your life are the subjects of Petite Maman. Magnetically attentive to the serious “things of life,” as the French put it, Céline Sciamma’s 72-minute study of an intense brief friendship between two girls of extraordinary similar looks prioritizes insight and emotional awareness over any artificial plot constructs. The result is a piercingly satisfying chamber drama with a lovely intimate feel.

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.

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.

Toward the end of Tina, the revealing documentary tribute by Dan Lindsay and T.J. Martin for HBO, Tina Turner is seen in an extended concert clip performing the Beatles' "Help" as a decelerated ballad — intimate, melancholy and full of feeling.

Opening with a very real-looking hardcore sex tape, and climaxing with a deranged orgy featuring super-sized dildos, Romanian writer-director Radu Jude's latest taboo-busting polemical comedy is refreshingly untroubled by tasteful restraint. Shot during COVID lockdown last summer, with cast and crew all wearing anti-viral masks, the snappily titled Bad Luck Banging or Loony Porn is a scattershot attack on sexual hysteria and political hypocrisy in an era of online slut-shaming.

Most cop movies — and most movies in general — spend the first reel setting up a story that usually kicks off after an “inciting incident,” to quote various screenwriting manuals, which takes place within the first ten or 15 minutes. For the rest of the film, we then watch how that incident unravels and affects the lives of all those involved.

Hungary’s most recent contribution to the implacable flow of war films pouring out of Eastern Europe is a far cry from the Russian tank operas and spectacular disaster films like Battle of Leningrad. Denes Nagy’s sensitive first featureNatural Light (Termeszetes feny), bowing in Berlin competition, is the opposite of these: a slow starter high on atmosphere but low on action, whose horrific main event takes place discreetly off-screen.

Dan Lindsay and T.J. Martin co-directed the sports documentary Undefeated in 2011, and their Berlin Film Festival Special Gala, Tina, could have shared the same title.

A teacher comes under fire for a sex tape in Bad Luck Banging Or Loony Porn, the Berlin Film Festival competition entry from Romanian writer-director Radu Jude (Aferim!). We first meet Emi (Katia Pascariu) when she is engaged in graphic sex with her husband, who’s filming an amateur video.

Tides just aches to be a waterborne Blade Runner crossed with Mad Max, but instead emerges as even more waterlogged than Waterworld. A soupy, post-apocalyptic Europudding that needed more action, greater imagination and a star of some magnitude in the leading role, this tale of an investigation into the possibility of restoring life to a mostly decimated Earth is all dark, grim and clammy.

The underseen but arresting 2016 documentary feature Peter and the Farm is a warts-and-all portrait of a flinty Vermont loner and his volatile relationship to the land that has consumed him for more than three decades. Its director, Tony Stone, now blurs the line between nonfiction and narrative filmmaking to depict another solitary man inseparable from his natural environment in Ted K, a piercing psychological probe into the domestic terrorist known as the Unabomber.