Berlinale 2017 Review: ‘Ana, Mon Amour’ by Cãlin Peter Netzer
byAna, Mon Amour, the fourth film of Romanian director Cãlin Peter Netzer reveals everything in its first scene. Two young people, Toma and Ana,…
Berlinale 2017
Berlinale 2017 Review: ‘Discreet’ by Travis Mathews
byBacon in a pan. A wall with colorful wallpaper and a close-up of a Japanese woman, covering her hands with her ears. A man…
Berlinale 2017 Review: ‘Insyriated’ by Philippe Van Leeuw
byConsidering the fact that the Berlinale claims to be a political festival, it seems illogical that Insyriated didn’t make it into this years competition…
Berlinale 2017 Review: ‘El bar’ by Álex de la Iglesia
byHomo homini lupus - man is a wolf unto man. In times of terror and constant fear in this incresingly postmodern world, basic instincts…
Berlinale 2017 Review: ‘Tiere’ by Greg Zglinski
byIt’s a striking personal resumé: four of the movies I’ve watched at this year’s 67th Berlinale feature shots of highway tracks while someone escapes…
Berlinale 2017 Review: ‘Mr. Long’ by Sabu
bySome people might be slightly irritated if, before breakfast, they were to watch a movie in which more than twenty people are massacred in the first…
Berlinale 2017 Review: ‘Autumn Autumn’ by Jang Woo-jin
byOur life stories are positioned in a weave, not a line. Diverging from a tradition insisting that our lives are most comprehensible if plotted…
Berlinale 2017 Review: ‘Beuys’ by Andres Veiel
byThis film is about the artist of the 20th century, Joseph Beuys. Never heard of him? Most Germans, regardless of their level of education or…
Berlinale 2017 Review: ‘Call Me by Your Name’ by Luca Guadagnino
byThere are those rare films that suddenly make a very cold Berlinale day feel warm by adding a different colour to life, like a…