Kurdwin Ayub on Sexual Identity, Social Media and Self-Discovery in Berlin Premiere ‘Sonne’

As the people of Ukraine wake up to the reality of war, many of the country’s top filmmakers and industry professionals have issued statements pleading for international intervention.

Resembling more of a personal tribute than exhaustive biography, Pietro Marcello‘s Lucio Dalla documentary, “For Lucio,” takes its title as an invitation. A rambling eulogy that is just as often confusing as it is profound, Marcello’s wisp of a film (running less than 80 minutes) may be missing key context for those not already versed in the life and music of the politically-oriented Italian singer-songwriter.

Many of Hong Sang-soo’s films are structured around a woman’s solitary wanderings. The single ladies played by Kim Min-Hee in “On the Beach at Night Alone” or “The Woman Who Ran,” or Lee Hye-Young in “In Front of Your Face,” are free radicals, moving from encounter to encounter and disrupting the equilibrium of the people they meet, as meandering conversations reveal a friend’s dissatisfaction or a couple’s disagreement.

Gail Halvorsen was a United States Air Force pilot known as the “Candy Bomber” for dropping candy over Berlin from his airplane during the Berlin airlift in 1948.  Gail Halvorsen joined the Air Force as a pilot during World War II, serving as a transport pilot in the South Atlantic. After World War II, Berlin was divided into four sections occupied by the United States, France, England, and Russia.

Leaves rustle in the wind, sand swiftly lifted from the ground as it resumes its nomadic journey, taking from one place to give to another. Around it, all seems to be consumed by stillness, but, in the safety of this deceiving quietness, life bursts through settled roots to create anew.

Selome Hailu To celebrate Black history month, Ava DuVernay’s indie distribution, arts and advocacy collective Array has produced “28 Days of ‘Sankofa,'” an event series where select cinemas, universities and festival locations throughout the U.S. are screening Ethiopian director Haile Gerima’s “Sankofa” for free, one screening for each day of February. In addition, Array created a free learning companion designed to help viewers process the weight of what they’re watching.Gerima is best known as one of the leading members of the L.A.

Premiering in the Special Gala section of this year’s Berlinale, the latest film from Italian director Dario Argento is surprising in more ways than one. Rather than copy the style of the giallo films from the 1970s and 1980s that made him famous (“The Bird with the Crystal Plumage,” “Deep Red,” and “Suspiria,” to cite just a few), his “Dark Glasses” finds ingenious ways to retain the core of the giallo while adapting to our current times.

Jamie Lang SF Studios has announced that the 2021 Berlin Generation Kplus player “Nelly Rapp: Monster Agent” is getting a sequel. The original was a hit among kids and parents alike in its native Sweden and won a pair of Swedish Guldbagge Awards. Based on Martin Widmark’s popular children’s books of the same name, the film features rising star Matilda Gross as the titular Nelly, a young girl who, along with her dog London, are dragged into a world of ghosts, vampires and werewolves.Johan Rosell will direct with Jon Nohrstedt and Niklas Larsson producing for SF Studios.

Cinema Guild has acquired U.S. rights to The Novelist’s Film, the Silver Bear Grand Jury Prize winner from South Korean writer-director Hong Sangsoo, which recently made its world premiere at the 2022 Berlin Film Festival. The film is the third Silver Bear winner in as many years from Hong—who won Best Director for The Woman Who Ran in 2020 and Best Screenplay for Introduction in 2021—and will be the 11th of the director’s works released by Cinema Guild in the last seven years.

Peter Debruge Chief Film Critic“You are not here for a cure,” the founder of a 26-day sexual therapy retreat tells the small group of women enrolled in her program at the outset of “That Kind of Summer.” Laying out the ground rules for the sensitive self-awareness exercise that follows — a loosely structured hiatus from unhealthy temptations, designed for those whose out-of-control impulses have made their lives unmanageable — she reassures, “You are not forbidden any sexual thoughts or behavior here. You are not sick.”Shot on grainy Super 16 with the kind of unsteady handheld aesthetic that suggests the cameraperson really ought to get their inner ear checked, Denis Côté’s radically nonjudgmental “let’s talk about sex” drama looks and feels like a documentary — at least, it could pass as one until a giant CG tarantula crawls up the wall while one of the women is masturbating late in the game.

It sounds like the set-up to a French New Wave film: a French au pair falls in love with an Irish pickpocket leading to a whirlwind romance that changes both their lives. It might be twee, but Joan Verra (Isabelle Huppert) lived it, and on a long, rainy, nighttime drive reflects on the intense, yet fleeting relationship of her youth.

Sat in front of a computer, musician Nick Cave reads a few questions aloud. These are deeply existential musings sent in by people he has never met.

The streets outside her window are dripping with hope, and yet Élisabeth (Charlotte Gainsbourg) is lost. It is Paris, 1981, a new president has been elected, and Élisabeth’s husband has left, claiming the thrillingness of motion by moving in with a new girlfriend while his ex is left with the stagnance of remaining, the apartment where they’ve raised their children, Judith (Megan Northam) and Matthias (Quito Rayon-Richter), at once comfortingly familiar and dreadfully new.

Of all the unsolved mysteries in Claire Denis‘ new Berlin Competition film, the biggest may just be its U.S. retitling to a generic and not particularly representative “Fire.” The film’s English title in the rest of the world, “Both Sides of the Blade” — a line from the terrific Tindersticks track that ends the film —is not just cooler and more compelling.

Christopher Vourlias Training their lens on the largely untold story of the atrocities committed against Thessaloniki’s Jewish population during World War II, Syllas Tzoumerkas and Christos Passalis will bow “The City and the City” Feb. 15 in the Berlin Film Festival’s competitive Encounters strand.Unspooling in six fragmented chapters, the film tells the story of Thessaloniki’s Jewish community from the first half of the 20th century until the present day, where contemporary life reflects a city that violently and irrevocably lost its multicultural character, almost overnight.Natives who both left Thessaloniki in their twenties, the directors said they wanted to focus on what Tzoumerkas described as a “blind spot” in their respective upbringings, in which the suffering and near annihilation of the city’s Jewish community went virtually unmentioned.

It’s not your regular meet-cute. Anna Moth (Sophie Rois) an actress recognized by people in the street but apparently unable to get work — “everyone knows she’s mental,” says a fellow actor after she extracts herself from his grip during the recording of a clearly low-rent radio play — gets mugged in the street outside a smart bar by a young man. He takes her handbag while a spunky young woman who sees the whole incident chases after him and gets the bag back, minus the wallet. Anna, meanwhile, is recovering her composure inside the bar, diva-style.

Demystifying and questioning the very notion of authenticity, Jason Kohn’s informative and oddly riveting, diamond-documentary “Nothing Lasts Forever” is ostensibly about the oft-antagonistic relationship between natural and synthetic diamonds. Yet, diamonds are an in-road as Kohn explores the commodification of such abstractions as love and desire, questioning how exactly a shiny rock — one that isn’t even that rare — became a physical manifestation of commitment.

Naman Ramachandran Producer Shrihari Sathe of New York-based production company Dialectic is enjoying the best time of his life, with no less than three of his projects, each completely different in style, genre and tone, being selected at A-list festivals.The latest career high for Sathe began with Bangladeshi filmmaker Mostofa Sarwar Farooki’s continent-hopping, multilingual identity tale “No Land’s Man” being selected at Busan in October 2021, followed by Francisca Alegria’s Spanish-language magical realist drama “The Cow Who Sang a Song Into the Future” premiering at this year’s Sundance. Now, “Stay Awake,” an expansion of Jamie Sisley’s 2015 short film of the same name that premiered at the Berlinale and won the Jury Prize at Slamdance, makes its world premiere at the Berlin Film Festival’s Generation 14plus strand on Feb. 12.

Christopher Vourlias Rwandan director Kivu Ruhorahoza’s “Father’s Day,” which bows in the competitive Encounters strand of the Berlin Film Festival, is a timely story of fatherhood in a country that saw a generation orphaned by one of the worst atrocities of the 20th century.The film presents a trio of interwoven stories set in the East African nation. A mother tries to cope with the loss of her only son.