Classical Period: An Interview with director Ted Fendt
byThere should be a cinema of reading whose sole generic requirement be that it contain lengthy shots of people reading either to themselves or…
Festivals
Berlinale 2018 Review: Victory Day
byThe place is the Soviet War Memorial in Berlin’s Treptower Park. The day is May 9, 2017, the 72nd anniversary of the Red Army’s…
Berlinale 2018 Review: Transit
byHell is an eternal waiting room: so goes the basis of the parable that underlies German auteur Christan Petzold’s new remarkable film Transit. Based…
Berlinale Roundup: Our Top 7 Unmissable Films
byThe 68th edition of the Berlinale is kicking off next week at Potsdamer Platz with a program sure to capture the attention of even…
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 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…