'Wheel of Fortune and Fantasy' ('Guzen to sozo'): Film Review | Berlin 2021

John Hopewell Chief International CorrespondentBerlin Grand Jury Prize winner “Wheel of Fortune and Fantasy,” Japanese writer-director Ryusuke Hamaguchi’s deft three-story reflection on chance, the legacy of love and the contrariness of erotic desire, has clinched further key territory sales for its sales agent M-Appeal World Sales.Fast on the footsteps of clinching the top Berlinale 2021 Silver Bear in March 5’s Berlin prize announcement, “Wheel of Fortune and Fantasy” this week closed Spain

Peter Debruge Chief Film CriticWhen Japanese director Ryusuke Hamaguchi made his return to fiction after time away in the realm of documentary, he dispensed with the idea that stories must conform to feature length.

Young Europeans' swerve toward the right and far right gets another movie thrown at it with the premiere of Je Suis Karl, from German director Christian Schwochow (November Child, Cracks in the Shell).

When filmmaker Maria Speth brought her documentary crew to a provincial German school, her goal was "open-ended observation." Observing a classroom where jam sessions and juggling lessons are as likely as lessons in math and grammar, she achieves that and more with Mr. Bachmann and His Class, one of the most effortlessly absorbing and deeply encouraging nonfiction films of recent memory.

It’s 1943. A particularly cruel winter has swept through the occupied Soviet Union.

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.

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.

Leo Barraclough International Features EditorSales agent M-Appeal has closed further territory deals for Japanese filmmaker Ryūsuke Hamaguchi’s “Wheel of Fortune and Fantasy,” which just won the Silver Bear Grand Jury Prize at the Berlin Film Festival.Benelux rights have gone to September Film, and StraDa Films has picked the film up in Greece. September Film plans to release the title theatrically post pandemic.

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.

Rebecca Davis editorJapanese writer-director Ryusuke Hamaguchi may be known for his deep explorations of women in love, but he never set out to specifically chronicle female intimacy.The filmmaker made his name with 2015’s epic five-hour-long “Happy Hour,” which follows the friendships and lives of four middle-class women in their thirties, followed by the unconventional love story “Asako I & II,” which competed for the Palme d’Or at Cannes in 2018.He has returned to similar territory in a new

There’s a brief shot early on in Georgian filmmaker Alexandre Koberidze’s wondrous romance and Berlinale competition entry What Do We See When We Look at the Sky? (Ras vkhedavt, rodesac cas vukurebt?) that might seem to illustrate something quite mundane. The male protagonist’s soccer practice session has ended.

There's sardonic self-deprecation in the part Daniel Brühl has chosen for himself in his first feature as director, that of a European movie star sweating over an audition for a Hollywood superhero film that stands to push his fame — and his bank account — to the next level. But celebrity entitlement is only one part of the package.

Japanese filmmaker Ryusuke Hamaguchi returns to what are fast becoming his signature themes in Berlin competition contender Wheel of Fortune and Fantasy: Odd coincidence, mysterious doubling, and intelligent women compelled by powerful but uncertain feelings. Many critics likened Hamaguchi's 2015 breakthrough, Happy Hour, to a sprawling literary novel (the film was five hours long and won plaudits for its beguiling dialog and finely observed set pieces).

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.

Adding another strong voice to the chorus of anti-capital-punishment films coming out of Iran is Ballad of a White Cow (Ghasideyeh gave sefid), a drama almost entirely centered on the wife of a condemned man who is wrongfully executed for murder in the opening scene.

In Dasha Nekrasova’s feature directorial debut, The Scary of Sixty-First, New York City is a desolate place. The sky is a muddy beige with no indication of sun.

There's a gorgeous scene early in Petite Maman that epitomizes the unfussy economy and emotional perceptiveness of Céline Sciamma's films. Watching intently from the back seat of the family car as her mother climbs in, stifling tears, and they head off to begin packing up the home of the maternal grandmother who has recently died, the film's 8-year-old protagonist asks permission to break out the snacks.

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.

Despite its simple title, Mexican filmmaker Alonso Ruizpalacios’ latest feature is far from a simple shoot-'em-up cop movie. It’s more like a cop movie written by Jacques Derrida, directed with nods to Wes Anderson and Jean-Luc Godard and then remixed by Abbas Kiarostami in its efforts to tear down the fourth wall.