Michael Caine, Glenda Jackson Set for ‘The Great Escaper,’ Pathe to Sell at Berlin EFM

Leo Barraclough International Features EditorBerlinale Competition entries from two actors turned directors, Maria Schrader and Daniel Brühl, were among titles on the Beta Cinema slate at the European Film Market to prove popular among international distributors.Schrader, an Emmy Award winner as the director of “Unorthodox,” premiered comic-tragic tale “I’m Your Man,” starring Dan Stevens (“Downton Abbey”), Maren Eggert (“I Was At Home, But…”) and Sandra Hueller (“Toni Erdmann”), at the virtual

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.

Emilio Mayorga Breathing in its deadly gases, Yono works for a few dollars a day at an East Java sulfur mine. When unexpectedly abandoned by his wife, he turns to animism, Islamism and finally capitalism­­ to try to find an answer to life.

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.

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.

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.

Nick Vivarelli International CorrespondentEmerging Italian helmer Claudio Giovannesi, who made a splash in Berlin with his prizewinning Neapolitan teen mob drama “Piranhas,” is set to direct immigration epic “Vita,” set in New York’s early 20th century Little Italy.Based on Melania Mazzucco’s novel by the same title, winner of Italy’s prestigious Strega Prize, “Vita” is set in 1903 when two kids, a girl named Vita and a boy named Diamante, disembark alone in New York.

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.

Carole Horst “Best Sellers,” a Berlinale Special Gala screener and debut feature from Lina Roessler, has scored deals from major territories, which were announced by film’s sales outfit Foresight Unlimited at the European Film Market.Universal Pictures Content Group has acquired major markets including the U.K., Germany, France and Latin America, among others.

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.

Christopher Vourlias One year ago, as thousands of global film and TV industry reps descended on Berlin for the European Film Market, executives from Nigerian production and distribution powerhouse FilmOne Entertainment had good reason to feel optimistic. The company had recently unveiled a $1 million film fund with China’s Huahua Media and South Africa’s Empire Entertainment, an unprecedented pact for the Nigerian movie industry.

EXCLUSIVE: Oscar-winner Allison Janney, Schitt’s Creek Emmy winner Annie Murphy and Dear Evan Hansen star Ben Platt are set for The People We Hate At The Wedding. Emmy winner Claire Scanlon (Set It Up) is directing an adaptation of the Grant Ginder novel that is a character-driven wedding comedy that aspires to be a next generation Four Weddings and a Funeral. UTA Independent Film Group is introducing it today at the Virtual Berlin Market.

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.

Lise Pedersen The new action-horror film set to be shot by acclaimed blockbuster director Renny Harlin (“Die Hard 2,” “Cliffhanger”) is being introduced online at Berlin’s virtual European Film Market.

EXCLUSIVE: New York-based distributor FilmRise has struck a deal with sales firm WaZabi Films for U.S. rights to TIFF 2020 and Berlin 2021 drama Beans.

John Hopewell Chief International CorrespondentYear by year, the Berlin Film Festival’s drama series strand and market movers closer to center-stage. As in so many ways, COVID-19 may merely accelerate that process.

There’s no doubt about it, it’s all in the eyes: an ice-blue stare, locked on you, promising satisfaction and loyalty without asking for anything in return. That’s what love is, and Dan Stevens is the humanoid robot here to give it to us.

2020 may have been something of an "annus horribilis" for vast swathes of the film industry, but that didn’t stop the buzzy new packages from landing. Even at the virtual Cannes market in June, when much of the world was still under some form of lockdown from the first COVID-19 wave and most film sets and studios were gathering dust, major A-list-heavy projects were popping in all directions (ok, mostly via Zoom pitches), with buyers not shying away.