Berlin 2021 Showbiz and Celebrity Breaking News

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.

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.

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.

For the students at a remote boarding school for Kurdish boys, survival is a matter of course, particularly during the frigid depths of winter. The meals are meager, the heating doesn’t work, and even the principal’s car won’t start.

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.

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.

Maybe it’s because the film is actually titled “Natural Light,” but it’s hard to watch the new trailer for the upcoming WWII drama and not be cognizant of the lighting. And it’s that lighting that adds to the overall dread and somberness that is prevalent in the upcoming film.

What was reported earlier this week has come true—the 2021 Berlin Film Festival is going virtual in March with a (planned) in-person “celebration” in June. This hybrid strategy is something that differentiates it from the upcoming Sundance Film Festival and this year’s TIFF and Venice festivals.

With 2020 basically canceling much of the film festival season, or at least forcing many to go digital, the hope was that 2021 would be different. Well, COVID-19 doesn’t care about what the film industry wishes would happen.

As we start to look past the nightmare that has been 2020 and look forward to a (slightly) more hopeful 2021, we’ll start hearing of the winter film festivals’ plans soon. First, it was Sundance announcing plans for a shorter edition of the festival, still taking place in person.