Berlinale #1: "Good Luck Have Fun Don't Die" and more...

by Elisa Giudici

NO GOOD MEN © Adomeit Film

I'm on the ground here at Berlinale with a report on the first four films screened including a film from  Afghanistan, Slovakia standing in for Wisconsin, a drama about the Turkish diaspora in Germany, and Gore Verbinski's new sci-fi comedy Good Luck Have Fun Don't Die. 

No Good Men
The Berlinale has not opened with something this emotionally persuasive in years. With No Good Men, Afghan filmmaker Shahrbanoo Sadat delivers a film that appears modest in scale and technique yet proves unexpectedly buoyant. Its visual language is spare, at times almost elementary, but the lightness is deliberate. In a story about gender inequality in Kabul, hope becomes a quietly subversive choice...

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The Film Fest Triple Crown: Who's Next?

by Cláudio Alves

Juliette Binoche's jury made history when they gave Jafar Panahi the Palme d'Or.

One month ago, Jafar Panahi took the Palme d'Or at Cannes for It Was Just an Accident and thus became the fourth director to win top honors from the Croisette, the Berlinale, and the Venice Film Festival. The Iranian master joins the ranks of Henri-Georges Clouzot, Michelangelo Antonioni, and Robert Altman. However. If you exclude ties and those cineastes who won two prizes for the same film, then Panahi and Antonioni are in an exclusive club of two. Inspired by Eric Blume's musings on the Triple Crown of Acting – Oscar, Tony, and Emmy – I started to ask myself what other filmmakers are close to achieving the same Palm, Golden Lion, and Bear combo. Who's next? The answers might surprise you…

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Berlinale 75: "Blue Moon" isn't your traditional biopic

by Elisa Giudici

Watching Blue Moon, I couldn’t help but think of Inside Llewyn Davis, one of the Coen brothers’ most accomplished yet underappreciated films. That movie introduced Oscar Isaac in what remains his most astonishing performance, portraying a talented but ill-fated musician who arrived just a bit too soon to achieve success. A similar fate awaited Blue Moon’s protagonist, though his story unfolds decades earlier, in 1943 New York, amid the turmoil of World War II...

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Berlinale 75: On the Golden Bear-winning "Dreams"

by Elisa Giudici

First love is by definition all-consuming, reshaping one’s world with overwhelming intensity. In Dreams (Sex Love), a multi-generational reflection on first love from Norwegian director Dag Johan Haugerud, captures this transformative experience, The movie tells the story of Johanne, a high school student who falls deeply for her French teacher. While the premise may seem familiar, the film’s execution is anything but. With remarkable authenticity, Dreams conveys the raw, feverish energy of youthful desire—both in mind and body—while weaving in a broader meditation on love across different stages of life...

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Berlinale 75: Islands, Reflection in a Dead Diamond, and Köln 75

by Elisa Giudici

 

Three more reviews for you from the 75th edition of the Berlin Film Festival, all of them successful films, too. 

KÖLN 75 by Ido Fluk (Belgium/Poland/Germany)

The word that best describes this film is energetic. While it firmly belongs to a well-trodden genre, Köln 75 immediately stands out for the sheer force and irresistible vitality of its young protagonist. That energy pulses through this fast-paced, sharp-witted musical biopic, which engages directly with its audience, frequently breaking the fourth wall to recount a remarkable yet nearly unthinkable chapter of 1970s music history.

The film centers on the legendary Köln Concert, Keith Jarrett’s solo performance that would later become an iconic album. What makes the story feel so fresh, though, is its unexpected perspective...

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