European Film Market Reports Successful 2021 Online Edition

The Marché du Film has set its dates for the “Pre-Cannes Screenings” virtual film market, which will now take place May 25-28.The smaller, virtual film market is designed to bridge the gap between the Berlin Film Market and Cannes, though the Marché du Film will still host a more traditional — and hopefully in-person — film market to coincide with the delayed Cannes Film Festival between July 6-15.The “intermediate event” in May will be a four-day online version of the Marché du Film.

Also Read: Spike Lee Returns as Cannes Jury PresidentOfficial dates still need to be confirmed, but the pre-screenings will begin no earlier than May 24.

Japanese Breakfast made her late-night TV debut on The Tonight Show Starring Jimmy Fallon last night (March 15) – you can watch it below.The first of two performances saw Michelle Zauner deliver a one-take performance of her new single ‘Be Sweet’, featuring some familiar extraterrestrial faces that appear in the song’s video.She also shared an online performance of her track ‘Jimmy Fallon Big!’ from her 2017 album ‘Soft Sounds From Another Planet’.Originally written after a bandmate from her old

Japanese Breakfast was the musical guest on Monday night's episode of The Tonight Show. This gave Michelle Zauner the opportunity to perform new song "Be Sweet" as well as revive "Jimmy Fallon Big!" a song from her 2017 album Soft Sounds From Another Planet that references the show's host.

Christopher Vourlias European Film Promotion, a network of 37 film promotion bodies from across the continent, is gathering 29 European sales companies from nine nations under the Europe! Umbrella at the virtual edition of the Hong Kong Intl. Film & TV Market (FilMart).For the second year running the annual event has been moved online because of the coronavirus pandemic.

A group of high-profile industry figures have signed a letter calling for an end to the prosecution of Maria Alekhina and Lucy (Ludmila) Shtein, two members of the anarchist feminist group Pussy Riot.

Berlin’s Netflix Film MarketFor the last two years, a Netflix panel was the hottest ticket at the Berlinale Series Market Conference. But the U.S.

This year, more than most, Berlin's European Film Market was an opportunity to gauge the health of the global indie industry. Judging from the business done over the past week — the 2021 EFM wraps Friday — the general assessment would be: The patient is stable and the prognosis is promising.

Not long into I'm Your Man, Dan Stevens' character, a genial android named Tom, arranges a perfectly contrived combination of romantic clichés for his would-be partner, Alma. The rose petals are "artfully" strewn, the candles flicker, and flutes of bubbly are ready for sipping beside the bubble-filled tub.

Anna Marie de la Fuente By forging key partnerships with filmmakers, financiers and distributors through the years, The Exchange, founded by veteran sales executive and CEO Brian O’Shea, has grown to become a leading worldwide sales and finance company.

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.

Variety Staff Follow Us on TwitterSince you can’t be in Berlin this year, Variety is bringing Berlin to you. We’re publishing daily digital editions, running March 1-4, of coverage from the European Film Market.

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.

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.

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.

Three bright, talented young people in their 20s struggle to find their place in a rotten society, scarred by Germany’s defeat in World War I and menaced by the rising tide of Nazism, in Fabian — Going to the Dogs (Fabian oder Der Gang vor die Hunde.) This second screen adaptation of Erich Kastner’s now classic 1931 novel (the first was directed by Wolf Gremm in 1980) marks a stylistically daring attempt to capture the zeitgeist by director Dominik Graf, who returns to Berlin competition where

You have to wonder about the shelf life of all the compact film productions being stitched together around COVID pandemic restraints, particularly those in which the visual field is limited to computer desktops.