‘Meanwhile On Earth’ Review: An Endearingly Surreal Meditation On Loss – Berlin Film Festival

A youthful crowd of industry professionals filed into a bustling room at the Gropius Bau Saturday afternoon for the inaugural AfroBerlin symposium here at the Berlin Film Festival. 

Somebody — or something — is speaking from inside a timber crate. “It’s so dark in here… a night so deep and opaque” read the subtitles; the voice is speaking in Fon, the local language of the West African country that was once called Dahomey and is now Benin. As the slats are nailed down, the voice is increasingly muffled; we are outside, but we are inside too, watching the light disappear.

A group of pro-Palestinian supporters staged a protest against Israel’s ongoing military action in the Gaza Strip in the main Marius Gropius Bau venue of the Berlin Film Festival European Film Market on Sunday.

The first-ever edition of AfroBerlin put Africa in the spotlight at the Berlin Film Festival and in one key session asked how festivals, streamers, and the wider industry can — and should — support films and filmmakers from the continent.

Christopher Vourlias Africa’s growing screen industries are making their mark on the global stage, with three titles in the main competition at this year’s Berlin Film Festival, but how to unlock the continent’s still-untapped potential was a question on the minds of many at a conference hosted on Saturday by the European Film Market. A partnership between EFM and Prudence Kolong’s Stockholm-based consulting firm Yanibes, AfroBerlin was launched to give a platform to filmmakers from Africa and the diaspora and “to find a place where they can share stories and experiences and be heard,” said Kolong, who also organizes the Cannes Film Festival’s AfroCannes industry showcase.

There is a sense of a running gag in Hors du Temps (renamed Suspended Time for the English-language market). In his complex, autofictional 2022 TV series Irma Vep, Olivier Assayas cast as the director of a film called Irma Vep — a film he had, in fact, made in real life 20 years earlier — the actor Vincent Macaigne, who cheekily developed a version of Assayas that not only picked up on his distinctively reedy voice, but also nobbled his quirky irritability and sensitivities.

Nick Vivarelli International Correspondent Over the past few years Italian cinema has been making strides in the global arena and 2024 looks likely to bolster its international standing. New works by top auteurs Paolo Sorrentino and Luca Guadagnino will be launching from the festival circuit just as a fresh crop of directors comes to fore, starting with Margherita Vicario, whose first film “Gloria!” scored a Berlin competition slot.

When Australian writer Lily Brett published her novel Too Many Men in 2001, critics marvelled at the light, comic tone she had managed to strike in a novel about the lasting impact of the Holocaust, passed down from one generation to the next. Families have their customary jokes; they squabble over the dinner table; they may be funny characters but, underneath it all, there is a consciousness of pain. That’s not an easy balance to strike, as a writer or as an actor.

What would you do if you could extend loved ones’ lives through their memories?

Everyone knows that hotels — preferably isolated, ideally with very few guests — make the best settings for horror films. All that sad anonymity, all that provisional space ready to be filled with something really nasty. In Cuckoo, Alpenplatz, run by the excessively friendly Mr Konig (Dan Stevens) totally fits the bill.

Berlinale, which looks to be one of the most politically charged editions in recent history. Several filmmakers have already canceled their participation to the festival in protest of Germany’s attitude towards Palestinian voices, while more than 50 Berlinale workers have signed an open letter this week demanding a ceasefire in Gaza and asking that the festival leadership take a “stronger institutional stance” on what the statement calls “the current assault on Palestinian life” and calling on the festival to take a stance that is “consistent with those taken in response to other events that have struck the international community in recent years.” The war in Gaza followed Hamas’ attacks on Israel on Oct.

Ellise Shafer After making her acting debut as trans teen Jules in HBO’s hit series “Euphoria” in 2019, Hunter Schafer found herself in high demand. But as she flipped through scripts, only one gave the 25-year-old what she calls “the sparkly feeling”: Tilman Singer’s horror film “Cuckoo.” Schafer auditioned and was cast as Gretchen, an angsty and isolated 17-year-old who is forced to move with her father, stepmother and young stepsister to a resort in Germany, where she soon learns that things are not as they seem.

Shayeza Walid MacArthur Fellow Annie Baker is an acclaimed playwright and theater director, winning the 2014 Pulitzer Prize for drama for “The Flick,” among other accolades. Now, with the release of the delicate mother-daughter drama “Janet Planet,” both written and directed by Baker, the esteemed theater veteran makes her directorial film debut. Baker began writing “Janet Planet” in the early days of the pandemic, completing it in December 2020.

The Berlin Film Festival officially kicked off this evening with an eventful opening ceremony at the Berlinale Palast theater in the German capital. 

The Berlin Film Festival kicks off its 74th edition Thursday with the opening-night world premiere screening of Small Things Like These, the Irish drama starring Oscar-nominated Oppenheimer star Cillian Murphy. It kicks of 10 days of movie debuts including for ones starring Rooney Mara, Isabelle Huppert, Gael García Bernal, Kristen Stewart and more.

Right from the start, there is no doubt where we are. Narrow, gray streets in the dim daylight of winter, peat hills between cramped villages, a crow sitting on a church spire: this is western Ireland in the ’80s, when the Celtic Tiger was yet to roar and jobs were scarce, divorce was illegal, condoms available only on prescription and central heating unknown.

Davide Abbatescianni Italy will be the Country in Focus at the European Film Market, running this year from Feb. 15-21. One of the major producing hubs in the world with a long history of excellence, Italy is now going through a production boom driven by a rising global demand and a generous tax credit, capable of attracting massive foreign investment across fiction, documentary and animation.

Scarlett Johansson, Margot Robbie, Cate Blanchett and Dave Bautista all star in projects at one of the biggest Berlin markets in recent memory, both post- and pre-pandemic. Whether this year’s high rollers will sell is the question that the 2024 European Film Market turns on.

Nick Vivarelli International Correspondent Italian state broadcaster RAI’s RAI Cinema film arm is launching a new standalone film sales unit at the European Film Market. The nascent sales company — which is called RAI Cinema International Distribution — aims to fill a gap within RAI’s content sales force given that RAI’s existing RAI Com sales unit is “mostly dedicated to TV product,” said RAI Cinema CEO Paolo Del Brocco.

Lana Del Rey has shared a cover of Irving Berlin’s ‘Blue Skies’ – written for the soundtrack to the new series The New Look. Check it out below.Shared today (February 14), the song is the latest to be taken from the Jack Antonoff soundtrack to the new Apple TV+ series, centred on iconic fashion designers as they navigated the horrors of World War II.The new cover sees Lana Del Rey put her own signature spin on the classic song ‘Blue Skies’, shared by Irving Berlin.