Berlin Day 2 - The Hollywood Reporter

thr.com/Berlin

Berlin

DAILY

№2

World Sales - The Stealth office at Berlinale - Stand: Marriot Hotel, Suite #252 +49 30 22000 1152

DAY TIME CINEMA

FeB Fe ruary

10, 2012

11.02.2012 13:50 Cinestar 3 - press screening

11.02.2012 18:00 Friedrichstadt Palast - premiere

12.02.2012 10:30 CinemaxX 7

13.02.2012 17:00 Cubix 9

17.02.2012 20:00 International

19.02.2012 22:30 Colosseum 1

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ASS BACKWARDS

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For International sales during Berlin, please stop by

MARRIOTT #264, call +49.30.22000.1107 or contact

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B r e a k i n g

n e w s

F e b ruary 1 0, 2 0 1 2

Momentum

Grabs U.K.

Frankenstein

By Stuart Kemp

Momentum Pictures,

Alliance Films’ U.K.

distribution division,

has signed up to take writerdirector

Richard Raaphorst’s

horror film Frankenstein’s

Army on a British tour of duty.

The movie, currently shooting

in Europe, is a co-production

of MPI/Dark Sky Films,

Los Angeles-based XYZ Films

and Pellicola of Amsterdam.

The Momentum acquisition

of U.K. rights to

Raaphorst’s big screen debut

was announced at the EFM

in Berlin.

The pre-sale was negotiated

by Nate Bolotin of XYZ

Films and Robert Walak of

Momentum, the British distribution

subsidiary of Montrealbased

Alliance Films. MPI and

XYZ are handling international

sales on the film.

continued on page 6

Sundvall

boards

Paganini

By Scott Roxborough

MouseTrap Snags U.S. Rights

to Aussie Drama Face to Face

SWedish director

Kjell Sundvall has

signed on to direct The

Paganini Contract, the second

film in the new Scandinavian

crime franchise that started

with The Hypnotist, which

Oscar-nominee Lasse Hallstrom

is currently shooting in

Stockholm. U.S. buyers are

circling The Hypnotist, with a

domestic deal expected soon

in Berlin.

on set with Lasse haLLstrom

and the hypnotist – p g 18

Paris Je t’a i m e P ro d u c e r

S e t t les With Lo v e B e r l i n

naomi Watts has

signed to play British

icon Princess Diana

in Oliver Hirschbiegel’s big

screen portrait Caught In Flight.

The movie is being touted to

buyers in Berlin by producers

Ecosse Films.

Tim Haslam, the former

Hanway Films chief executive,

is handling worldwide sales

under his upstart company

Diane Krüger walks

the red carpet at the

opening night gala of

Farewell, My Queen.

Marking his return to the bigscreen,

Robert Redford will star in All is Lost for

writer-director J.C. Chandor.

Glen Basner’s FilmNation announced Thursday

it is handling foreign rights to the film as

the European Film Market got underway. The

high-profile project also has landed a domestic

Hirschbiegel directs Watts

based on the screenplay by Stephen

Jeffreys, with

production set to

begin in the U.K.

later this year.

Billed as a com-

Watts pelling portrait

of Diana, Princess of Wales

during the last two years of

her life, the script charts her

search for personal happiness

as she turned into a major

1

berlin

№2

watts to topline Princess Diana biopic

Oliver Hirschbiegel’s provocative drama generates strong buzz as

Berlin’s European Film Market gets underway By Stuart Kemp

international campaigner and

humanitarian.

Watts, who will next be seen

starring in The Impossible opposite

Ewan McGregor, described

her casting as “an honor to be

able to play this iconic role —

Princess Diana was loved across

the world, and I look forward to

rising to the challenge of playing

her on screen.”

Hirschbiegel said Watts has

Embankment Films. continued on page 6

Robert Redford Confirmed for

J.C. Chandor’s All Is Lost

By Pamela McClintock

S h a h Rukh Khan to Make

B e r l i n P re m i e re o f D o n 2

s e e t h r .com/Berlin

for full sto r i e s

about town

All is Lost is the exhilarating journey

of one man’s fight to survive. Set

entirely at sea, Redford — who was

last seen in Lions for Lambs in 2007

— is the only cast member.

Redford Redford’s involvement in All

is Lost has been rumored for weeks, and he’s

now in final talks. Redford met Chandor at the

distributor — Lionsgate. continued on page 6

day2_news.inddA.indd 1 2/9/12 8:56 PM

krueger photo: pascal le segretain, getty images

the RepoRt

Hawkins Joins

Lucky Dog

By Stuart Kemp

Sally haWkins has

teamed with Paul Giamatti

and Paul Rudd to

star in Lucky Dog, a comedy to

be directed by Phil Morrison.

Set to shoot next month on

location in NYC, Dan Carey

and Elizabeth Giamatti

will produce through their

Touchy Feely Films banner.

From an original script by

Melissa James Gibson, the

story revolves around Guy

and Rene, played by Giamatti

and Rudd, billed as two

French-Canadian con men.

Their friendship has been

a bit strained of late: Guy,

recently released from prison,

arrives home to find Rene

sleeping with his ex-wife. But

the pair tries to set differences

aside, traveling to the U.S.

with a get-rich-quick plan to

sell Christmas trees.

UK. sales and finance banner

HanWay Film is drumming

up heat on the project making

its international debut to

buyers during this year’s EFM.

UTA is repping US rights.The

film is being financed by

Sidney Kimmel Entertainment,

GreeneStreet Films

and HanWay. thr

british banner Multistory Films

Picks up teen Sci-Fi Pic Calling

Outer space drama billed as Breakfast Club meets Moon By Stuart Kemp

Producer emma biggins has snared

movie rights from writer/director

Jeff Norton, the former svp at publishing

giant Chorion, to Norton’s sci-fi

teen thriller The Calling.

Billed as the script where The Breakfast

Club meets Moon, Biggins and Norton will

work together to develop the idea into a

full-blown movie script for Biggins’ production

label Multistory Films.

The film details the story of five teenage

strangers who wake up in a high-tech prison

only to discover they are on a manmade

spaceship hurtling towards a trial for

humanity’s future.

Norton, who spearheaded the movie and

television exploitation while at Chorion, the

entertainment company owner of characters

such as Mr Men, Noddy and those

uPI takes Marley Docu

Deals struck on eve of

the film’s Berlin special

screening by Fortissimo

Films By Stuart Kemp

universal Pictures

International Entertainment

has stuck a deal

for all U.K. and Scandinavian

rights to the Shangri-La Entertainment/Tuff

Gong Pictures

produced Bob Marley documentary

Marley.

The deal for the doc, directed

by Oscar winning filmmaker

Kevin Macdonald, was brokered

by managing director of

international sales agent Fortissimo

Films Nelleke Driessen.

Lucky Red in Italy and Avalon

Distribution in Spain have

also sealed deals for the movie.

The feature length documentary

is scheduled for theatrical

release in North America and

the U.K. April 20, 2012, then

will release worldwide throughout

the summer to coincide

with the 50th anniversary year

of Jamaican Independence.

Macdonald, Rohan Marley

and long-time collaborator of

Bob Marley, Neville Garrick,

are expected in Berlin to present

the film on February 12.

The international flurry of

2

dealmaking comes in the wake of

Magnolia Pictures’ deal for U.S.

rights to the project.

International sales agent,

Fortissimo Films also struck

deals for South Africa (Nu

Metro), Portugal (Lusomundo

/ Film & TV House), Germany

& Austria (Studio Canal

Germany), Poland (Best Film),

France (Wild Side Films),

Latin America (HBO Latin

America Pan Regional Pay

TV), Australia & New Zealand

(Roadshow Films PTY Ltd),

Benelux (E1), Middle East

(Front Row) and Switzerland

(Elite Film A.G.)

Shangri-La Entertainment

created by Beatrix Potter, is drawing on his

experience to develop a script for teenagers.

He told The Hollywood Reporter his idea

“plays to a broad, teen-based audience with

a solid, sci-fi crossover.” Multistory Films is

in Berlin for the festival with founder Biggins

taking part in the Talent Campus.

Biggins described Norton’s efforts as “a

thrilling high-concept script” and that he

has brought “a solid vision for realizing this

on screen.” Norton said the script is about

five complex young people who are put in a

situation where they find themselves making

hard and ultimately frightening decisions.

Biggins’ debut producer feature was

revenge horror The Harsh Light of Day,

written and directed by Oliver S. Milburn,

scheduled to debut next month at the

Cinequest Film Festival.

Martin Scorsese was

originally attached

to direct Marley.

and Tuff Gong Pictures

produced, in association with

Cowboy Films, what is billed as

the definitive film about one of

the biggest international icons

of the 20th Century.

On announcing the deal,

Driessen said, “Bob Marley is

one of a very few true international

icons. His image, music

and messages of love and peace

have crossed borders, boundaries

and cultures and are as relevant

in the world today as ever.

We are extremely happy that

the team at Universal share our

passion for the subject matter

and see the potential for this

landmark project.” thr

Young Departs

Taormina

By Eric J. Lyman

RoME — Deborah Young announced

Thursday she would be leaving her role

as artistic director for the Taormina Film

Festival after a successful five-year tenure.

Young, who had doubled as the Chief

European Film Critic for The Hollywood

Reporter, will take on a larger role with

the publication, as its International

Film Editor.

Young said her departure was due to

“incompatible views” with the Taormina

Arte Committee, which is the oversight

body for the 58-year-old Sicily-based event.

A spokesperson for Taormina Arte said

they did not ask Young to leave and said

that the problem was agreeing to terms for

a new contract with the festival despite a

dramatically reduced budget.

Young said she will immediately assume

her increased role at THR.

thr thr


presents

AAron eckhArt VerA FArMIGA

THe drummer

Directed by Randall Miller (Bottle Shock)

Biopic/Music/Drama Principal photography starts: 15 June 2012

ShAron Stone

AttAchment

Directed by Tony Kaye (American History X)

Thriller In Pre-Production

Directed by Jonathan English (Ironclad)

Action/Thriller In Pre-Production

Ritz Carlton, Suite 545

Julie Sultan / jsultan@W2Media.com Terese Kohn / tlindenkohn@W2Media.com

Visit Our Website at W2Media.com

W2 Media D2_021012.indd 1 2/3/12 4:30 PM

the RepoRt

rambling reporter

Hanging with wild bunch

They really are a wild bunch.

With an EFM presence in a

space outside the Martin

Gropius Bau, the Wild Bunch

took a creative approach to

decorating. They have nooses

hanging from the ceiling — to

promote their animated film

The Suicide Shop, about a

bleak family business that

encounters joie de vivre in

the form of the owners’

cheerful younger son. If it

wasn’t a bad pun, we’d suggest

people may enjoy “hanging

out” there.

Everything’s Jake

Jake Gyllenhaal, according

to British filmmaking legend

and Berlin jury president Mike

Leigh, has no reason to feel

like the odd one out. On the

face of it Gyllenhaal certainly

didn’t seem fazed by the

exalted company drawn from

the world of global cinema

at the press conference to

introduce the Competition jury

on which he sits. “I think I’m

going to let the president of the

jury speak for me,” Gyllenhaal

smiled, deftly batting away

the question from the floor.

His impression of Berlin Festival

director Dieter Kosslick,

complete with German accent,

and his invitation to sit on

the jury certainly made

everyone laugh.

Crazy for Marie-antoinette

At Thursday’s press conference

for Berlin opener Farewell

My Queen, star Diane Kruger

said portraying a historical

figure is a particular challenge

since “a lot of people already

have opinions of this historical

figure. They have already

judged her.”

Asked by an audience

member who saw the film if she

thought Marie Antoinette was a

lesbian, Kruger said: “The way

[director] Benoit saw her she is

boarderline crazy. I don’t think

she’s a lesbian. thr

THR .com

to download a pDF of the

The Hollywood Reporter’s

Berlin Film Festival,

go to:thr.com/Berlin.

the 2012 berlin Poster awards

THR pays tribute the most amusing and

over-the-top promotional materials from

the second day of the market

bESt uSE oF DRaMatIC

FaCES In blaCk-anD-wHItE

Choked

This film is about a “family

in turmoil in the materialistic

modern society.” as taglines

go that is a major fail, which

might explain the title. If

anything this poster appears

to be suffocating on it’s

own seriousness. Zombies

could be the only thing to

bring this back to life.

bESt kISS-aSS PERIoD PIECE

Corporal Vs Napoleon

If the poster is to be believed,

this twisted take on the Napoleonic

wars from Russia’s Central

Partnership is way more

War than Peace. Still, there’s

nothing like a pineapple grenade

and a cutlass down your

bloomers to liven up a staid

costume drama. Surely the

only one sheet this year with

both Tolstay and Jean Claude

Van Damme on the credits list.

4

bESt uSE oF a GuItaR

on a CouCH

Powder

Who wouldn’t be drawn in by

that good-looking guitar on

the couch? If you aren’t, you

likely will want to know what

rock and roll was made of. The

film’s title suggests fresh snow

on the ski slopes, but what do

winter sports have to do with

rock and roll?

bESt uSE oF IMPlIED

DaRknESS

When the Lights Went Out

Only God knows what happened

when it went dark.

Our guess: This lady bit her

lip looking for the light

switch. Or she hit her head

looking for a flashlight under

her bed. Whatever it was,

the young lady in the poster

should consider paying her

utlilty bill on time.

The Vow

U.S. Box

Office Shows

Promise


the domestic box

office is expected to turn

in another stellar performance

this weekend, led by

Rachel McAdams-Channing

Tatum Valentine’s Day entry

The Vow, from Screen Gems.

Between The Vow, Denzel

Washington-Ryan Reynolds

action-thriller Safe House, the

3D re-release of Star Wars: Episode

One: The Phantom Menace

and Dwayne Johnsonstarrer

Journey 2: The Mysterious Island

ticket sales could hit a record

high and best the $154.4 million

earned in 2009 on the weekend

before Valentine’s Day.

Tracking for The Vow is

through the roof, impressing

even rival studios. Interest

in the romantic drama is

strongest among younger

females, followed by older

females. Box office observers

believe the film has a good

shot at hitting $30 million for

weekend, and it should see a

spike on Valentine’s Day

The strength of The Vow

prompted Fox to reverse its

plans to open This Means War

on Valentine’s Day. Instead,

Fox is only sneaking the actioncomedy

on Valentine’s Day,

and then waiting to offiically

debut the pic until Feb. 17.

From Universal, Safe

House could edge out Fox’s

Phantom Menace. Safe House

is tracking to open in the $25

million range, while Phantom

Menace is eyeing a weekend

gross in the $20 million to

$25 million range.

On Thursday, advance

ticket sales for The Vow on

Fandango surpassed sales for

Phantom Menace, representing

40 percent of all tickets

sold, compared to 37 percent

for Phantom Menace. thr


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the RepoRt

Galano’s Speranza 13

Makes berlin Debut


Veteran international

film executive Camela

Galano’s new foreign

sales company Speranza 13

Media is making its debut at

the European Film Market

with two titles, including Open

Grave, directed by Apollo 18’s

Gonzalo Lopez-Gallego.

The other title is Romeo and

Juliet, adapted by Julian Fellowes

(Downton Abbey, Gosford

Park) and directed by Carlo

Carlei (Flight of the Innocent).

Galano spent 22 years as

president of New Line International

before transitioning

to president of Warner Bros.

International Film Acquisitions.

At New Line, she

spearheaded foreign sales on a

string of hits, including Peter

Jackson’s blockbuster The Lord

of the Rings franchise.

“The role of the international

sales agent has grown significantly

in the last few years

due to the economic climate.

There’s a real need for valuable

sales experience — we’re

expecting a very strong start in

Berlin and have high hopes for

Gleeason Reteams

With McDonagh

By Stuart Kemp

John michael mcdonagh’s folloW-uP

to his debut The Guard has attracted the

acting chops of Brendan Gleeson, Chris

O’Dowd, Kelly Reilly and Aidan Gillen.

McDonagh’s much-anticipated second feature

Calvary, which the filmmmaker will direct from

his own script, is being touted to buyers in Berlin

by U.K. sales banner Protagonist Pictures.

Billed as a black comic drama, McDonagh’s

sophomore film details the story of a good priest

tormented by his community.

Chris Clark and Flora Fernandez-Marengo of

British production company Reprisal Films are

producing with Elizabeth Eves as co-producer,

re-uniting the team who brought The Guard to

the big screen.

The filmmakers said the main character in

Calvary is the flipside to The Guard’s Sergeant

Gerry Boyle. A good man intent on making the

world a better place, he is continually shocked

and saddened by the spiteful and confrontational

inhabitants of his small country town.

the titles,” Galano said.

Open Grave — the haunting

tale of six desperate individuals

who wake up with amnesia-

like symptoms in a remote

forest next to an open grave of

rotting bodies--is the second

feature film from Atlas Independent,

a division of Charles

Roven’s Atlast Entertainment.

Production is set to begin

in April.

Romeo and Juliet stars

Hailee Steinfeld as Juliet and

Douglas Booth as Romeo. The

film, while true to its original

period setting, is designed to

draw in younger audiences and

began shooting in Italy at the

beginning of the year. Amber

Entertainment is producing.

Galano also served as New

Line International Releasing

from 2001-2009 overseeing

and managing the sales and

release of New Line movies in

more than 120 international

territories. She also oversaw

international distribution

for Picturehouse and Material

Entertainment, a joint venture

between New Line and

Watts

continueD From 1

enough in her acting armoury to embody

“the warmth, humanity and empathy of

such a global icon as Princess Diana.”

A documentary about Princess Diana,

Unlawful Killing by actor and filmmaker

Keith Allen, caused a stir in Cannes last

year. Despite its graphic content, which

included footage of Diana after the car

crash that killed her, the film drummed up

big business. Financed by Al-Fayed’s billionaire

father, Mohamed, it secured key

distribution deals in several territories,

including Russia,

Spain and Benelux. At the heart of Killing is

a 2007 inquest and subsequent ruling that

Diana and Dodi were killed because of

the gross negligence of limousine driver Henri

Paul and the paparazzi who chased

the couple.

Mohamed Al-Fayed, who has long blamed

the royal family for the death of his son,

decided to finance the project after Allen

was turned down by British film companies

and broadcasters.

6

Frankenstein

continueD From 1

Shooting in Prague , the

movie marks Dutch director

Raaphorst’s debut after his

award winning Worst Case Scenario

shorts catapulted him

into popularity among horror

fans worldwide.

His story is set towards the

end of World War II and sees

Russian soldiers pushing into

eastern Germany stumble

across a secret Nazi lab, one

that has unearthed and begun

experimenting with the journal

of one Dr. Viktor Frankenstein.

The scientists have used the

legendary Frankenstein’s work

to assemble an army of supersoldiers

stitched together from

a combination of the body

parts of their fallen comrades.

MPI/Dark Sky Films

original horror productions

include genre films such as Ti

West’s The House of the Devil,

Adam Green’s Hatchet II, Jim

Mickle’s Stake Land and The

Innkeepers. Momentum Pictures’

recent rollouts include

The King’s Speech, The Girl

With the Dragon Tattoo, Let the

Right One In and the distributor

is gearing up for the U.K.

launch of The Woman in Black

and The Raid.

HBO films. thr thr

thr thr

Redford

continueD From 1

Sundance Film Festival in

2011, where Margin Call

made its worldwide premiere.

Chandor is up for

an Oscar for best original

screenplay for the critically

acclaimed film, his first

directing effort.

Margin Call’s Neal Dodson

is producing All is Lost via

Before the Door Pictures

banner alongside Black Bear

Pictures’ Teddy Schwarzman

and Treehouse Pictures’

Justin Nappi. They are fully

financing the project. Also

producing are Anna Gerb

and Jason Blum.

“We had a charmed experience

on Margin Call with

J.C. and are thrilled to be

taking our relationship with

him to the next level on his

audacious sophmore film,”

Dodson said.

Before the Door’s Zachary

Quinto and Corey Moosa

will excutive produce with

Cassian Elwes,Laura Rister

and Kevin Turen.

Chandor is set to begin

shooting this summer at

Baja Studios in Rosarita

Beach, Mexico, which was

built by Fox for Titanic.

Elwes and Rister negotiated

the financing deals on

behalf of the film, along with

WME’s Alexis Garcia.

Redford is repped by CAA

and attorney Barry Tyerman;

Chandor by WME.

“The combination of an

exciting new filmmaker and

iconic actor like Robert

Redford will be a collaboration

that audiences around

the world will take note of,”

Basner said.

All is Lost is sure to draw

the keen eye of foreign buyers,

who have no shortage

of high-profile projects to

choose from at EFM. Film-

Nation’s newly announced

Philip Seymour Hoffman

starrer A Most Wanted Man,

directed by Anton Corbijn,

is among the titles already

generating strong interest

as the market and Berlin

Film Festival officially get

underway (Corbijn is on the

festival jury). thr


PREMIERE SCREENING

MIDNIGHT SON

DATE: Friday February 10

TIME: 16:30 VENUE: Marriott 3

Horror • 86 Minutes • USA • 2011

DIRECTOR Scott Leberecht

“Martin meets Let

The Right One In”

Darkside.

STARRING:

Tracey Walter ( I Spit on Your Grave)

Arlen Escarpeta (Final Destination 5)

Larry Cedar (The Crazies)

Producers: Matt Compton & Eduardo Sanchez (The Blair Witch Project)

FACE TO FACE

DATE: Saturday February 11


Drama • 90 Minutes • Australia • 2011

DIRECTOR Michael Rymer

“Riveting, Thought-Provoking,

Transformative”

Michael Moore, Film-maker

STARRING:

Matthew Newton (Queen of the Damned)

Vince Colosimo (Chopper)

Luke Ford (The Mummy)

Writer: David Williamson (Gallipoli, The Year of Living Dangerously)

PREMIERE SCREENING

RITES OF SPRING

DATE: Sunday February 12


Genre: Horror • 83 Minutes • USA • 2012

“Genre bending …

fresh and very creepy”

Scott Weinberg, Fearnet

STARRING:

AJ Bowen (A Horrible Way to Die)

Anessa Ramsey (The Signal)

Marco St John (Monster)

BERLIN UK FILM CENTRE STAND NO: 40, GROUND FLOOR, MARTIN GROPIUS BAU TEL 00 49 30 767 646 439

LONDON 22 CARNABY STREET, LONDON, W1F 7DB MOBILE 00 44 7765 398 742 TEL +44 20 7287 0050 FAX +44 20 7494 9492

Jinga Film D2_021012.indd 1 2/7/12 4:01 PM

CJ Ent_D2_021012.indd 1 2/6/12 8:58 PM

CJ Ent_D2_021012.indd 2 2/6/12 8:58 PM

Director Q&A

The three times Oscar nOminated

director Stephen Daldry, whose

latest movie Extremely Loud &

Incredibly Close is among this year’s

best picture Oscar nominations, has a lot on

his plate. Aside from being the artistic director

working across all four ceremonies for

the London 2012 Olympics and Paralympics,

Daldry is also bringing his latest heavyweight

big screen literary adaptation to Berlin while

ironing out his input on a Richard Curtis

penned screenplay adaptation of children’s

book, Trash. Daldry spoke to The Hollywood

Reporter about his very busy year.

Had you read Jonathan Safran Foer’s novel

Extremely Loud & Incredibly Close?

No I hadn’t. The book and an early script

draft from Eric [Roth] came to me in the post

in the same envelope one day in New York.

Was Roth’s involvement another part of the

jigsaw for you in deciding to make it?

I had known Eric socially for years. We’ve

wanted to work with each other for a number

of years.

Was the cast in place before you came aboard?

The cast wasn’t in place when I came on

board, no. The cast came about some time

later after I got involved. I’m not very

good with remembering the chronology of

things but it was a significant time after I

got involved later, maybe a year.

Stephen Daldry on the set of

Extremely Loud & Incredibly Close

Stephen Daldry

The acclaimed British helmer discusses his Berlin entry

(and Oscar nominee) Extremely Loud & Incredibly Close, why

he loves Berlin and where he was on 9-11 By Stuart Kemp

How did you feel directing Oscar winners Tom

Hanks and Sandra Bullock?

I was incredibly pleased. They were both my

first choice to play those roles in the film.

Not to mention Max Von Sydow?

I remember us — me, [producer] Scott

Rudin and Eric — having a lengthy

discussion about whether or not to cast a

European or an American for the role of

the elderly man. We all felt and agreed it

should be a European actor and when that

was decided, Max would be at the top of

people’s wishlist.

Your first film Billy Elliot discovered a fresh

talent in Jamie Bell. And you’ve done it again

with Thomas Horn. Discovering raw talent and

getting such performances out them must be

rewarding?

When you’re dealing with young people

there are a lot of factors. We auditioned for

that part all over Europe and America. It

wasn’t a deliberate choice

to go for an unknown

although there are advantages

to doing that. One

being that they don’t come

with any bad habits.

You love Berlin. Are you

looking forward to taking

this story to the festival?

I am dying to go to Berlin.

10

vital stats

Nationality: British

Born: 2 May 1961

Festival Entry: Extremely

Loud & Incredibly Close, Out

of Competition

Selected Filmography:

Billy Elliot (2000)

The Hours (2002)

The Reader (2008)

Aside from the fact it is one of my

favorite cities in the world, it is also my

absolute favorite film festival. There’s an

amazing energy and excitement that the

festival generates and I am very much

looking forward to seeing how the film

goes down with audiences there. I am

fascinated by the German audience’s

reaction to it.

Critics have talked about the boy’s grandparents

being Jewish. But in the production notes

they are not. What was behind that decision?

He [Von Sydow’s character] is not a holocaust

survivor. It’s a lack of attention to

detail by some predominantly American

critics that they assume he is. In fact it’s

the exact reverse. The family is not Jewish.

None of them are. The film is about

a German immigrant family coming to

live their lives in New York after the war.

The grandfather is a survivor of the war

and specifically the British bombing of

Dresden. I am very aware that because

they are from Europe and they are old

and they have German accents and we like

them, people think they must be Jewish.

It’s a projection mainly by Americans [who

have seen it] that because we like them and

because they came from Germany after the

war they must be Jewish. The assumption

is if there are Germans on screen you like

they must be Jewish.

The lead in the film describes himself as having

been tested for Asperger’s Syndrome, a form

of autism, but says the results are inconclusive.

Was that a conscious choice?

It was not meant to temper anything. It’s in

the book and so in the script. We [as filmmakers]

worked on the simple idea that the

child is on the autistic spectrum somewhere

and spent a lot of time with experts who

work with children with Asperger’s to get

that portrayal right.

Where were you personally on 9/11?

I was in London finishing The Hours

with Scott Rudin actually. We were in

the cutting room when the first plane

went into the tower. I remember that day

for one simple fact. That we could get

through to people in New York on the

telephone because the phone lines from

London to New York were active. So both

of us spent most of that day on two phones

getting in touch with

people to make sure they

were okay.

You’re artistic director of the

London 2012 Olympic games.

What’s that like?

It’s an interesting thing and

not like anything I have

ever done or will ever do

again I suspect. thr

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World

Horror’s Uncertain Future

Recent low-budget hits suggest the troubled genre needs an infusion of fresh blood By Scott Roxborough

Like the un-killable

monster in a midnight

screener, the horror movie

business, left for dead just

a few months ago, has come

screaming back to life. the

shock success of Paramount’s

faux-doc demonic possession

frightener The Devil Inside,

which earned $53 million in its

u.S. release, despite dreadful

reviews, the studio’s Paranormal

Activity 3 (global take to

date: $205 million) and, most

recently, the spooky thriller The

Woman in Black starring a post-

Harry Potter Daniel Radcliff,

which booked $21 million over

the Super bowl for CbS Films,

seems to mark a return to form

for what has traditionally been

the safest bet in the movie

business: the low budget scary

movie. these horror hits have

earned returns of investmentthat

would make a hedge fund

The faux-documentary style

of The Devil Inside has

become a horror staple.

13

manager shiver with delight

(PA3 had a $5 million budget,

The Devil Inside was made for

just $1 million). but the horror

genres still faces a nightmare

scenario in the movie marketplace.

DVD sales, the bedrock

of the horror business, are slipping

and theatrical returns are

uncertain. horror’s box office

ground troops, the under-25

crowd, came out in force for The

Devil Inside but ignored universal’s

The Thing, which earned

just $17 million stateside, and

they weren’t much scared by

Guillermo del toro-produced

Don’t Be Afraid of the Dark

either ($24 million).

So while there are still plenty

of zombie, vampire and psycokiller

films stalking the halls of

berlin’s european Film Market

this year, industry veterans say

the mood has changed.

“the horror movie by the

pound business is over,” says

John Flock of financing/sales

Despite largely negative reviews,

Paranormal Activity 3 scared up

$205 million at the box office.

outfit W2 Media, which just

bowed horror anthology flick

The Theatre Bizarre on a dayand-date

release in the u.S..

“DVD sales are soft, there isn’t

really a VOD business to speak

of. there’s no free tV market

for most of these films because

they’re often bloody and violent.

What you’re looking at is a

little theatrical, a little pay-tV,

a little VOD. each film has to

be nurtured.”

“at the american Film

Market two years ago, you had

wall-to-wall low budget horror

titles and a lot of people lost

their shirts on them,” adds

Simon Oakes, president and

CeO of legendary british horror

shingle hammer. “to sell

horror in this market, you need

a high concept or a strong story

and they need to be made for

the right price. You can’t be

lazy anymore. You have to focus

on all the elements.”

hammer appears to have

day2_feature_horror.inddA.indd 1 2/9/12 6:31 PM

World

top cHiLLers oF

tHe Last year

Paranormal activity 3

Paramount

Domestic: $104 million

Foreign: $101 million

Worldwide: $205 million

insidious FilmDistrict




the devil inside Paramount

Domestic: $52.7 million

Foreign: $263,000


Final destination 5

Warner Bros./New Line




underworld awakening

Sony/Screen Gems




▲ scream 4

Weinstein/Dimension




the roommate

Sony/Screen Gems


Foreign: $3 million


the rite Warner Bros.




Priest Sony/Screen Gems




don't Be aFraid oF the dark

FilmDistrict




— Scott roxBorouGh

The Woman in Black

defied expectations

by overpreforming at

the box office.

gotten the mix of elements right

for The Woman in Black, which

it co-produced with Cross Creek

Pictures, alliance, talisman

and Sweden’s Filmgate and Film

i Vast. Director James Watson’s

ghost story was based on a novel

story from Susan hill, which

had already been made into a

successful tV movie.

hammer, now part of exclusive

Media, is rolling out an

ambitious horror slate, including

low-budget exorcist thriller

The Quiet Ones to be directed by

Ghost Ship screenwriter John

Pogue; a untitled “M. night

Shyamalan -style” chiller from

Paranormal Activity 2 helmer

tod Williams and an adaptation

of Cherie Priest’s period

zombie novel Boneshaker, which

hammer is prepping as a possible

franchise.

Separately, hammer has

signed a deal with StudioCanal

and other partners to breathe

new life into its classic brit horror

library.

the project aims to restore

over 30 hammer movies into

hD format for blu-ray and new

media exploitation, starting with

Dracula Prince of Darkness which

will rollout in March.

With Woman In Black, as

with its its previous title, Let

Me In — an adaptation of the

Swedish vampire hit Let The

Right One In — hammer didn’t

following the Paranormal

Activity low budget game plan

but focused instead on more

traditional theatrical properties:

a known brand and strong

14

above-the-line talent.

in the current horror market,

the danger of this more

mainstream approach can be a

film that falls between fanboy

cult and cross-over success.

“it can be harder to position

and market these movies,” alex

Watson, exclusive Media’s president

of international sales and

distribution admits. “You don’t

want to alienate fans of horror

films and at the same time

you have to be able to attract

a broader, more discerning

audience who might otherwise

ordinarily dismiss the genre.”

at the eFM, few are taking

the more discerning approach.

a quick glance a sampling of

the horror titles on offer - War

of the Dead, Death Before Dawn

3D, Dracula 3D or Eddie – The

Sleepwalking Cannibal to name

just a handful - suggest the

majority are targeting horror’s

hard core.

Pan-european distribution

and sales group Wild bunch

recently signed a three-year

output and distribution deal

with twisted Pictures, evolution’s

genre label run by Saw

producer Mark burg. the

deal will see Wild bunch will

acquire and distribute global

cross-media rights to twisted’s

feature films, promised to

be "provocative, low-budget

projects from emerging filmmaking

talent," according to

Wild bunch. the target demo:

horror fanboys worldwide.

Sierra/affinity is also aiming

straight at that bloody

hard-core heart with Wer, the

new project from the Devil

inside team of director/writer

William brent bell, producer/

writer Matthew Peterman and

producer Steven Schneider.

Sierra/affinity and incentive

Filmed entertainment

are financing and producing

the film, which will be in the

faux-documentarystyle of Devil

inside and which begins shooting

in Romania in april.

“horror has always been a

genre that goes it cycles,” says

Sierra/affinity CeO nick Meyer.

“but clearly it has proven, for

years, to be one of the most commercial

genres. Of course everyone

looks at the cost structure

but i think horror is about fresh

ideas, and cool new voices. if you

have that, there’s an appetite for

it on the market.”

While the shaky doc style

popularized by Paranormal

activity remains hot – one

of the few sure-sell foreign

language horror titles in berlin

is Filmax internationals’ Rec 3

Genesis, the prequel to the hit

Spanish video-taped chiller - a

fad that seems to be passing

is 3-D. Once hailed as horror’s

savior, 3D has also proved a

false prophet. For every Saw 3D

($45 million domestic bow) and

Underworld: Awakening, ($54.4

million and counting) there is a

Shark night 3D ($18 million).

“What people have found out

is that a bad horror film in 3D

is still a bad horror film,” says

eFM director beki Probst. “and

it won’t sell in the market.” thr

day2_feature_horror.inddA.indd 2 2/9/12 6:31 PM

Huayi Bros D2_021012.indd 1 2/8/12 9:25 AM

ExEcutivE suitE

chairman anD cEo,

a company

Alexander

Van

Dülmen

The German risk taker discusses

how he survived a decade of

uncertainty and why he’s still

betting on Eastern Europe

By Scott Roxborough

10 years ago, alexander van dülmen

borrowed 48,000 Euros ($45,000) to

start up a licensing and sales operation

specializing in the then largely-unknown

markets of Russia and Eastern Europe.

His timing was awful — the media bubble

had just burst (van Dülmen was himself

a refugee from Kinowelt, market-listed

company that had gone belly up) and most

viewed Eastern Europe as risky, unpromising

and hopelessly corrupt. A decade later,

Van Dülmen has been through multiple

shareholders, market crashes and currency

devaluations but the firm he started — A

Company — has continued to grow. A

Company and its subsidiaries now operate

in 29 countries, boasting a slate of nearly

400 films and annual revenues in the tens

of millions. Van Dülmen last year came on

board one of the most talked-about projects

in the indie world: the big-budget sci-fi

epic Cloud Atlas directed by the trio of Tom

Tykwer and the Wachowskis siblings

Did you always want to start up your

own business?

No. I didn’t have much choice. By the

summer of 2002 I’d been unemployed

for almost a year. The crash of the Neuer

Markt meant it wasn’t easy getting work in

the media industry. I was up for an acquisitions

job with a big U.K. company but

that fell through. When that happened, I

decided that’s it. I have to try it on my own:

tap my contacts from Kinowelt and build

a network. It was out of desperation, more

than anything.

Do you remember your first market as your

own boss?

It was the AFM. I flew there with 48,000

Euros in borrowed capital and I signed commitments

for $3 million worth of film rights.

I didn’t have the money. I had about 3-4

months to sell the rights or that would have

been it. Two weeks later, I flew to Russia

and met with people from Russian TV I’d

known from the Kinowelt days. They agreed

to buy the films for a $600,000 profit. I was

happy as a new born baby. I called people

up: “it worked! It worked!” A lot of people

told me to take the money and run. But I

knew we were just getting started.

What was the attitude towards the Eastern

European market at the time?

People were terrified of it. They were scared

of Eastern Europe. But I was always convinced

of the potential there. I was alone in

that. Now you can see how the market has

grown. One of the films I sold for Russia for

a few hundred thousand back then would

easily be worth a million now.

Besides the growth in the market, what has

changed over the years in your corporate

strategy?

Our profile. For a long time we were

focused on what can we sell — and quickly

— to TV. It made sense at the time because

there wasn’t much money in the theatrical

business in Russia or Eastern Europe.

Then, in 2006, we did a big exclusive deal

with The Weinstein Company — and we

suddenly had all these horror and genre

films like Machette which were harder films

for TV. They had to work in the cinemas.

16

Van Dülman will be celebrating the

tenth anniversary of A Company

with a Berlin blowout on Feb. 11.

In the beginning it was tough. Then we got

the Saw franchise from Lionsgate. Saw 3

was the first film that made money for us in

the cinema. It was a special moment. Now

we are much more focused on bigger titles.

We have Sin City 2 and Machete 2, we’ve got

Billy Bob Thornton’s Berlin competition

film Jayne Mansfield’s Car. And of course

we’re a co-producer on Cloud Atlas, which

we have for Russia and Eastern Europe.

But TV sales are, and remain, our

core business.

What’s coming for the next decade?

We are still investing in emerging markets

— in Russia and Poland particularly, where

we see over average growth. With AR-Films

from Russia coming on board last year as

our majority shareholder, we have the capital

and position to take our biggest step

yet. This year we want to launch our own

theatrical distribution operation in Russia.

The idea is to do the publicity and marketing

ourselves and do booking and billing

through a studio. In ten years I think A

Company has become established on the

market. It’s hard to imagine the market

without us. But this will take us to a whole

new level. It will make us a really big player

in the territory. thr

day2_execsuite.inddA.indd 1 2/9/12 3:01 PM

Hollywood-Cesare:BoxOffice-Venezia 6-02-2012 18:58 Pagina 1

INTERNATIONAL SALES

w w w . r a i t r a d e . c o m

CONTACTS: Catia Rossi Cell. +39 335 6049456 - rossi@rai.it

RAI SUPPORTS

A FILM BY PAOLO AND VITTORIO TAVIANI

with COSIMO REGA SALVATORE STRIANO GIOVANNI ARCURI ANTONIO FRASCA

Production: KAOS CINEMATOGRAFICA srl in association with STEMAL ENTERTAINMENT SRL,

LE TALEE and LA RIBALTA – Study Center E.M. Salerno.

With the collaboration of RAI CINEMA.

VISIT US AT MARTIN GROPIUS BAU, BOOTH 146

OFFICIAL SCREENINGS

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RAI_D2_021012.indd 1 2/6/12 11:52 AM

World

Hypnotist:

The Next

Dragon

Tattoo?

Lasse Hallstrom’s returns to

Sweden after 25 years to try his

hand at Scandi crime

By Scott Roxborough

Triple AcAdemy AwArd nominee

lasse Hallstrom is tucked into the

corner of a tiny wooden cottage

starring at two wide-screen monitors.

He’s watching his wife, actress lena olin,

and Swedish actor michael persbrandt go

through a scene from Hallstrom’s latest

film, The Hypnotist.

“igen,” Hallstrom the perfectionist

says after every take, as the digital Alexa

cameras continue to roll. “igen. en gång

till.” (Again. one more time).

Hallstrom is back home. The director

of The Cider House Rules and Chocolat, the

man who helped leonardo dicaprio to his

first oscar nomination and michael caine

to his second oscar win, has returned to

Stockholm to shoot his first Swedish-language

movie in 25 years.

“it’s amazing how relaxing it is to work

in your native language. everything is easier

– you can communicate subtle things with

gestures and tone,” Hallstrom says, during

a break in shooting. “i hadn’t realized how

handicapped i had been conveying my

intensions in english.”

Based on the global bestseller by lars

Kepler (the pen name of husband-and-wife

team Alexander and Alexandra Ahndoril),

The Hypnotist is a bloody, chilling story of a

family — psychologist and hypnotist (persbrandt)

and his artist wife (olin) — whose

child is kidnapped by a psychopath.

“i’ve always wanted to try a thriller,”

says Hallstrom. “Those aren't the kind

of scripts i usually get offered. i haven't

really been allowed to try and scare

people. But i will.”

while the thriller genre might be virgin

territory for the Swedish filmmaker, the

domestic setting of The Hypnotist — the

film is essentially the story of a family torn

apart, albeit packed inside a chilling, brutal

crime tale — is familiar ground to the

director of The Shipping News and What’s

Eating Gilbert Grape?.

“This is why we thought of him first,” says

peter possne, who is producing The Hypnotist

together with Borje Hansson and Bertil

ohlsson. “we knew lasse Hallstrom could

"It's amazing how relaxing it is to

work in your native language," says

Hallstrom, left, with starts Michael

Persbrandt and Lena Olin.

capture the family drama of the book, as well

as the crime and action.”

when The Hypnotist book came out in

Sweden two years ago, it set off a bidding

war. ever Swedish producer was convinced

The Hypnotist could be the next Girl With

The Dragon Tattoo. Swedish production

houses Svensk and Sonet eventually won

out, securing rights for all eight of the books

in a planed lars Kepler franchise, of which

three have been published so far.

The success of Girl with the Dragon Tattoo

— the original Swedish film and david

Fincher’s U.S. remake — has triggered an

explosion of Scandinavian crime films,

many of which are barely finished before

they get snatched up for a U.S. remake.

From Universal pictures’ mark wahlbergstarrer

Contraband (a remake of iceland

thriller Reykjavik-Rotterdam) to Sweden’s

easy money (optioned by warner Bros.) to

norwegian hit Headhunters (which Summit

is adapting) nordic noir is hot.

“when i said yes to this film, i didn’t

know i was going to be riding a wave of

Scandinavian crime, or Stockholm noir

or whatever you call it,” says Hallstrom.

“maybe it says something about the

Swedish character. if you grow up with

these winters, when there’s only daylight

between 10 and 2, you can understand why

people hibernate and start considering

suicide,’ he says, chuckling.

if Scandi crime is hot, Swedish talent

is smokin’. Think noomi rapace, star of

the original Swedish Girl With The Dragon

Tattoo and now Sherlock Holmes: Game

of Shadows; True Blood’s Viking vampire

Alexander Skarsgaard; or Swedish helmer

Tomas Alfredsson, director of Tinker,

18

Tailor, Soldier, Spy.

The Hypnotist could introduce the

world to another Swedish breakout star:

mikael persbrandt.

Back on set, persbrandt and olin do

another take. Then another. Then another.

in the scene, olin, playing persbrandt’s

wife, is telling him she wants a separation.

The two do take after take, with slight

changes in dialogue and emphasis. in one

version persbrandt is angry and confrontational.

in another struck dumb, barely able

to mutter his lines.

“That’s how lasse works, he makes

you go over and over it,” says persbrandt.

“most directors are satisfied when then get

something that vaguely resembles human

behavior. But he wants more. And so do i.

He’s one of the few directors that makes you

take out your whole toolbox as an actor.”

After two decades as Sweden’s leading

man, persbrandt is ready to take his acting

tools to a wider audience. The actor, with

his open, emotive face and steel-blue eyes,

turned heads with his performance in last

year’s foreign language oscar winner In A

Better World. in peter Jackson’s upcoming

middle earth epic The Hobbit he plays Beorn,

a man who can transform himself into a bear.

“i think i’m ready for a bigger stage,”

says persbrandt in his growling, accented

english. “i think i’m ready.”

Svensk will find out if the international

film market agrees in Berlin as The Hypnotist

gets shopped around to international

buyers. Ann-Kristin westerberg of Svensk

says she has received multiple offers from

the U.S. for the title, which has already

pre-sold to Germany, Spain, canada,

France and the U.K. thr

day2_hypnotist.inddA.indd 1 2/9/12 3:56 PM

Photo: Fredrik hjerling

Red

Tears

GOD SAVE

MY SHOES

(87 mins)

(60 mins)

Market Premiere Market Premiere

Date: 10 Feb (FRI)

Date: 10 Feb (FRI)

Time: 16:20

Time: 19:45

Venue: MGB KINO

Venue: CINEMAXX 19

REVENGE:

A LOVE STORY

(91 mins)

sold to over 12 countries

in Asia and 19 countries in

europe

All Rights Entertainment Limited

HK Offi ce: Flat 5A, Hang Lok Building, 130 Wing Lok Street, Sheung Wan, Hong Kong

T: +852-2388 6007 F: +852-2544 8003

Paris Offi ce: 13 rue Bonaparte, 75006 Paris, France

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www.allrightsentertainment.com

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T: +33-6 88 36 04 44

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Sleepwalker

(104 mins)

Private Screening

on Request

All Rights Ent_021012_Day 2.indd 1 2/7/12 10:21 AM

Reviews

Diane Kruger, second

from left, plays Marie

Antoinette on the eve of

the French Revolution.

Farewell, My Queen

A

distanced but

extraordinarily atmospheric

costumer set

in the heady (in the sense of

pre-guillotined) final days of

Versailles amid the commotion

of the dawning French

Revolution, Farewell, My Queen

is a visual joy to watch, even

while its tale of a lower class

girl at court infatuated with the

Queen of France labors to say

something relevant. though

director benoit Jacquot opts

for the grand european style of

Girl with a Pearl Earring rather

than a modernist re-reading à

la sofia coppola’s post-punk

vision Marie Antoinette, the film

has its own charm, a matterof-fact

treatment of lesbianism

and magnifique costumes and

settings guaranteed to please

upper east side patrons, all of

which suggests wide art house

release for this lavish Frenchspanish

coprod.

based on a novel by chantal

thomas, the concise screenplay

traces the routing of

France’s 18-century aristocracy

a bit from the perspective of the

decadent blue bloods themselves

but more often from the

p.o.v. of their downstairs maids,

who are smartly individualized

This atmospheric historical drama set in the early days of the French revolution

is intelligent Euro eye candy at its most lavish By Deborah Young

and believable. Maybe the film’s

biggest intuition is casting the

brooding modern face of Léa

seydoux (Inglourious Basterds,

Mission: Impossible – Ghost

Protocol) in the role of sidonie

Laborde, the haughty young

reader to Marie antoinette

who becomes embroiled in the

Queen’s love affair with Mme. de

Polinac (Virgine Ledoyen.)

Living in the forlorn poverty

of the servants’ quarters, the girl

is thrilled to be called into the

presence of the beautiful, glamorous

Marie antoinette, played

with teary-eyed passion and, yes,

more than a touch of laughable

frivolity by a charismatic diane

Kruger. When the Queen massages

rosewater into the itching

mosquito bites on sidonie’s arm,

the young girl is sensually captivated.

but the relationship is not

what she hopes for. “so young

and already so blind,” comments

the delightful M. Moreau

(Michel Robin), a wise old gent

living at court, foreshadowing

the film’s cruel as ice conclusion.

Locked in their fantasy

world at Versailles, in whose

mirrored and gilded halls much

of the film was shot, the wiggy

nobles go about business as

usual: adultery, food, clothes,

20

jewels and embroidery.

Jacquot sets the scene in

under twenty minutes before

the enjoyably idyllic tone

changes to one of red alert.

Word that things are seriously

amiss reaches the court with

news that the bastille has fallen

and the rebelling populace is

demanding not just bread, but

power. in Paris, a list has been

drawn up of 286 aristo heads

set to roll. and people on the

street have not only stopped

showing respect for the king,

many are waving pitchforks and

torches in his direction.

it’s July 14, 1789 and within

days their world will be turned

upside down.

While sofia coppola ruminated

on the role of pleasure

in life, Jacquot shifts the focus

to the relationship between

the wildly divergent classes of

French society and the way they

spy on, fantasize about and

interact with each other. the

two truly noble souls to emerge

are, first of all, the courageous

and resourceful sidonie, whose

misplaced loyalty and conscious

self-sacrifice distinguish her

from a stereotypical romantic

heroine; and Louis XVi (Xavier

beauvois in little more than a

walk-on role), whose surprising

choice to return to Paris on his

own and face down the insurrection

puts him way above the

cowardly fugitives in his court.

Lavish, Vermeer-influenced

lighting by d.P. Romain Winding

stands in interesting formal contrast

to the relaxed, constantly

moving camerawork which follows

sidonie as she runs and falls

awkwardly in her cumbersome

gown on breathless errands.

both the eye-catching production

design by Katia Wyszkop

and unique period costumes

by christian Gasc and Valérie

Ranchoux will be remembered

during award season.

the urgent pace is underscored

by a nearly continuous

musical comment by bruno

coulais, which assumes the

weight of a ballet score as the

dancers, or in this case the cast,

rush to their doom.

Sales Agent Elle Driver

Cast Diane Kruger, Léa

Seydoux, Virginie Ledoyen,

Xavier Beauvois, Noémie

Lvovsky, Michel Robin, Julie-

Marie Parmentier, Lolita

Chammah,Marthe Caufman,

Vladimir Consigny

Director Benoït Jacquot

day2_reviews.indd 1 2/9/12 4:29 PM

Apulia D2_021012.indd 1 2/7/12 5:19 PM

Reviews

Extremely Loud & Incredibly Close

An emotionally potent, noticeably literary story of a precious boy’s reaction to his father’s death on 9/11.

By Todd McCarthy

Emotional fluency and

literary pretense go hand

in hand in Extremely Loud

& Incredibly Close, an affecting,

well acted tale of 9/11 trauma

and a boy’s effort to piece things

together after his father’s death.

A self-conscious prestige project

with weighty thematic elements,

a tony literary pedigree and

top-tier actors, director Stephen

Daldry’s fourth film is dominated

by the performance of a 13-yearold

with no previous acting

experience, Thomas Horn, who

enables his character’s pinball

intellect and inchoate emotions

to pulse through every scene.

“The worst day” is how

young Oskar Schell (Horn)

understandably refers to 9/11,

the day his jeweler father perished

in one of the twin towers

while there for a meeting. As

seen in multiple flashbacks,

Oskar and his father Thomas

(Tom Hanks) shared an unusually

close relationship, with

the dad concocting all manner

of intellectually challenging

games and propositions his son

happily took up.

On the basis of his first two

Shadow Dancer

Two people on opposite sides

of the Northern Ireland conflict

come together in this meticulously

calibrated thriller By David Rooney

WHIlE BEST kNOWN FOr THE

documentaries Man on Wire and

Project Nim (one a 2009 Oscar

winner, the other criminally overlooked in

this year’s nominations), director James

Marsh spreads himself between non-fiction

and narrative features. He’s working with

riveting assurance in the latter field in

Shadow Dancer, a slow-burning, intricately

plotted thriller set during a tense transitional

period in Northern Ireland.

Both the director and screenwriter Tom

Bradby show a healthy disdain for pandering

exposition, instead shaping atmosphere in

early scenes with a minimum of dialogue.

That may make the grim film a little challenging

for wide commercial exposure,

but discerning audiences will find that

its carefully crafted suspense exerts an

Though he had no acting

experience, Thomas Horn,

right, holds his own with

Max von Sydow.

novels, Everything Is Illuminated

and this one, which was

published in 2005, Jonathan Safran

Foer is a word wizard partial

to bulgingly significant material

and highly contrived narrative

constructs of a sort that would

never occur to a writer plotting

an original screenplay. In this

case, said invention is an odyssey

on foot Oskar embarks upon

throughout all the boroughs of

New York to track down every

individual with the last name

“Black” (472 of them in all), for

the reason that he found a key

among his father’s possessions

with that name attached to it.

22

He is convinced that, if he can

find the matching lock, he will

find or learn something of great

significance about his father.

Through it all, the dominating

presence is Horn as Oskar. A nonprofessional

discovered when he

won Kids Jeopardy on television,

Horn has torrents of complicated,

verbose, highly charged

dialogue to reel off, is paired with

a host of extremely accomplished

actors, is in virtually every scene

and must be entirely convincing

as a bright, driven, emotionally

convulsed kid who is likely on

the outer edges of the spectrum

of either austism or Asperger’s

ever-tightening grip.

A terse prologue set in residential 1970s

Belfast shows young Collette McVeigh

(Maria laird) too immersed in the girly pastime

of stringing beads to go to the shop for

cigarettes as her father requested. Instead

she sends her little brother, who gets caught

in crossfire and killed. Stunned guilt is written

all over the girl’s face as she stares mutely

at her anguished family gathered around

the body, her brightly colored new necklace

seeming to reinforce her culpability.

Years of self-recrimination areetched into

the features of the older Collette (Andrea

riseborough), who reappears 20 years later,

a single mother and active IrA member

in a family of hardline radicals. Arrested

in london during an aborted 1993 subway

bombingattempt, she is presented with a

dossier by MI5 officer Mac (Clive Owen),

whose detailed knowledge of her life reveals

years of close surveillance. He also shows her

photographic evidence indicating that her

brother may have been killed not by British

gunfire but an IrA bullet.

The story in itself is first-rate. However, it’s

Clive Owen stars as

a driven MI5 officer.

Syndrome. For all these reasons,

it is entirely possible that some

will find him annoyingly precocious.

Whatever the case, it’s an

exceptional natural performance,

entirely convincing and exhilarating

to experience.

Production Scott

Rudin Productions

Cast Tom Hanks, Sandra

Bullock, Thomas Horn, Max von

Sydow Viola Davis, John Goodman,

Jeffrey Wright,

Zoe Caldwell

Director Stephen Daldry

Screenwriter Eric Roth, based

on the novel by Jonathan Safran

the very measured handling that makes it distinctive.

At one or two points, things appear

to be moving in a more predictable direction,

notably with a step toward possible romance

between Collette and Mac. But Bradby’s

unerringly intelligent script never makes a

move that’s not vital to the narrative fabric.

The same goes for the compelling performances,

which are contained and for the

most part unemotional, in keeping with the

story’s emphasis on what’s hidden.

Sales Wild Bunch

Director James Marsh

Screenwriter Tom Bradby,

based on his novel


Archstone Distribution_D2_021012.indd 1 2/3/12 10:00 AM

Reviews

Death Row

Werner Herzog returns to the dark country of Into the

Abyss and capital punishment in America in four chilling TV docs

By Deborah Young

Satisfyingly articulate and

straightforward, but at the same time

so disquieting it leaves a queasy feeling

in the stomach, Death Row is a powerful

gathering of four 47-minute television

portraits of prisoners awaiting execution in

Texas and Florida. The morbid fascination of

true crime finds a master narrator in Werner

Herzog, who brings a very European sensibility

to the genre, along with a moral point of

view that goes beyond simply opposing the

death penalty to attempting to describe the

existence of evil in human beings.

This sounds like a very tall Germanic

order, but the films have nothing abstruse

or philosophical about them. They manage

to be engrossing, at times even with

a touch of black humor, thanks to their

uncanny closeness to their subjects, almost

all of whom have committed repulsive,

heinous crimes. Their horror is never

white-washed and they are guaranteed to

disturb even the viewer in tune with narrator

Herzog’s opening comments (which

are identical for each segment) that, as a

German coming from a different historical

background, he “respectfully disagrees”

with capital punishment in America.

For those who have seen the director’s

feature-length doc Into the Abyss, subtitled

A Tale of Death, a Tale of Life, these portraits

of humanity may seem like more of

the same in a TV format. Most of the producers

and crew are identical, and at one

point Michael Perry, the teenage murderer

from Into the Abyss, makes a brief appearance.

In re-working his life-long obsession

with the subject, however, Herzog shifts the

tone from meditative abstraction to utterly

concrete realism, brushed with expressive

asides and intuitive editing. His interviewees

are still alive, for the moment, and

their stories come across less as object lessons

aimed at debating the death penalty

than as excruciatingly painful tales of woe.

Though obviously made for quality

television, where they could find the most

natural home, the four episodes have their

own weight when seen back-to-back. The

three-hour running time is off-putting,

however, and this package makes most

sense for festival exposure. The grimness

of the subject itself doesn’t foretell mass

audiences outside genre fans.

The first episode examines the criminal

pathology of James Barnes who, convicted

of strangling his wife to death, confessed

to the rape and murder of a nurse. In this

second case, he took off all his clothes,

slipped naked into his victim’s apartment

and spied on her for hours before murdering

her and setting her bed on fire to get

rid of the body. Herzog remains off-camera

as he questions Barnes in prison, trying to

contain his horror and analyze the serial

killer’s psyche. (Confessions of other killings

came during the interview.) Viewers

will agree with the puzzled director that

the voluble, intelligent and apparently

remorseful Barnes doesn¹t come across as

a monster; still less when, in an interview

with his twin sister, it emerges that he

was beaten, humiliated and probably

sexually abused as a child by the father he

loved desperately.

Rivaling the moral ambiguity of this

portrait is the slippery case of Hank Skinner,

whose wonderfully theatrical face and

24

Herzog directs a chilling

portrayal of prisoners

awaiting execution.

tendency towards overeating and hysterical

laughter makes it difficult to believe he

murdered the woman he was living with

and her two sons. After 17 years as a dead

man walking, Skinner still protests his

innocence, though a local reporter who

walks the camera crew through the crime

is convinced of the contrary. As in Into the

Abyss, Herzog lingers on the aching poverty

of town where the crime was committed,

with its vacant lots and windowless homes.

And like James Barnes, Hank Skinner is

an extraordinarily articulate raconteur of

his own life.

The other two stories are probing but

never reach these depths of psychological

portraiture. Two of the men involved in a

dramatic 2000 break-outt from a maximum

security prison in Texas, ending in

the killing of a police officer, alternate

their tales in the third episode. The robber

George Rivas describes in cinematic detail

how he planned and executed the escape of

the “Texas Seven,” in which young convict

Joseph Garcia, who took no part in the

shooting, was also condemned to death.

Both are confessed killers and both seem

incapable of murder, filling the viewer with

the feeling that, to quote Garcia’s attorney,

“It wasn’t his real self that killed the boy.”

In the intimacy of the one-on-one

interviews, Herzog gently but firmly insists

that his subjects confront their guilt and

responsibility for their crimes. He doesn¹t

get very far with Linda Carty, an undercover

DEA informer who was sentenced to

death for ordering the murder of a young

mother and the abduction of her new-born

baby. Editor Joe Bini astutely inter-weaves

the thunderous condemnation of the

District Attorney with footage of Carty’s

original police interrogation and interviews

with her daughter and one of her

accomplices, describing the background

and legal aftermath of the crime without

denying its shocking horror.

The quiet melancholy of Mark Degli

Antoni’s score is used sparingly and expressively

over police crime scene photos,

like cinematographer Peter Zeitlinger’s

bleak views of highway ditches and forlorn

American towns, cold prison towers and

the strapped gurney where the condemned

are executed by lethal injection at the rate

of one a week in Texas alone. In the end,

these brief films are persuasive by their

gentleness and their relentless insistence

that each person be viewed, first of all, as a

human being.

Sales Agent ZDF Enterprisesv

Production companies: Creative

Differences, Skellig Rock, in association with

Spring Films, Werner Herzog Films

Director: Werner Herzog

Producer: Erik Nelson

No rating, 188 minutes


CMG_EFM12_THRdaily_FP_Feb10_FINAL3:Layout 1 1/2/12 23:11 Page 1

SCREENING

TOMORROW!!!

SCREENING

TOMORROW!!!

Peter Facinelli

will steal

your heart

Sat. Feb 11th 9:00AM

@ Cinemaxx 19

Politically

incorrect,

Sexy and

Fun!

Sat. Feb 11th 4:50PM

@ Cinemaxx 16

Embark on

a Spectacular

3D Animated

Adventure in

the Heart

of Africa

Sun. Feb 12th 5:00PM

@ Cinestar 1

Definitely 2012’s

Laugh Out Loud

Office Comedy!

Sun. Feb 12th 10:30AM

@ Cinemaxx 19

CMG D2_021012.indd 1 2/2/12 2:29 PM

Reviews

Bestiaire

A mesmerizing free-association visual study of the

interaction between humans and captive animals

By David Rooney

In a new York Times

opinion piece titled “Why we

love zoos,” the poet, essayist

and naturalist Diane Ackerman

reflected on animal parks

as venues for the discovery

of interspecies shared identity,

but also as places where

humans focus “on the lives

of other creatures to dispel

the usual mind theaters that

plague us.” Those notions are

challenged as often as reinforced

in Canadian filmmaker

Denis Côté’s soberly beautiful

Bestiaire, but exact conclusions

are left for the viewer to form.

Combining commentary

free footage from a drawing

class, a taxidermist’s workshop

and a Quebec safari park, both

during peak visitor season and

in the grim winter months, this

is a compelling contemplation

of the subjective gaze, applied

to both humans and animals.

Quiet and ruminative yet oddly

confronting, the unclassifiable

film is as much an art or natural

history museum installation

as a documentary.

Côté opens with people

in intense concentration.

Cameraman Vincent Biron’s

Haywire

Martial arts maestra Gina Casrano

kicks ass in this star-studded

action lark By Todd McCarthy

WiTh all The feel of a

vacation from more high-minded

and ambitious projects, Steven

Soderbergh celebrates making his 25th

feature film within 22 years with a kick-ass

international action romp toplining mixed

martial arts star Gina Carano as a covert

operative who proceeds to whup a succession

of macho leading men in addition to

assorted anonymous foes.

A handsome, black-haired hardbody

who wears an evening dress as easily as she

does a hoodie, Carano plays Mallory Kane,

an international troubleshooter assigned

to off-the-books missions who can take out

virtually any guy.

The straight revenge tale sees Kane

looking to find out who set her up for

voyeuristically framed shots

cut from faces to heads to

upper bodies to sketch artists

at easels before revealing their

subject, a stuffed animal. That

fragmentary approach is a

constant throughout. Movement

is captured within a static

frame, with no music and only

the occasional faint snatch of

overheard dialogue to intrude

on the visual meditation.

In the snowbound enclosures

and restrictive holding pens

of the safari park, animals

are often glimpsed as nervous

antlers, skittish hooves, heaving

flanks or watchful eyes. In the

era of nature documentary as

television spectacle, Côté knowingly

plays on the absence of

the usual anthropomorphizing

commentary to give us a less

serene view of animal behavior.

Head-on shots of wild beastslooking

directly into camera

can appear curious or accusatory,

and the noise of big cats

rattling padlocked metal gates

assumes unsettling power.

Shots of the mounted heads

of cervids and boars segue to the

taxidermy section. The grunts

and growls of animals give way

to the hum of machines as a

26

This unlassifiable film is

as much an art or natural

history museum installation

as a documetary.

worker hollows out the body of a

duck before zipping it around an

artificial carcass and meticulously

reassembling it into a

perfect facsimile.

The final section returns to

the park in summer, spending

as much time on the human

traffic as the animal attractions.

There are arresting images here

— zebras filing amongst cars in

the drive-through safari; a giraffe

stoically enduring the rain; a

rhino obligingly shifting positions

as a zookeeper hoses it down;

a sleeping lion sprawled across

the glass roof of a pedestrian

walkway, oblivious to observers

passing just inches away.

In her Times piece,

assassination after she pulled off a job.

The script makes no attempt to assert

its plausibility or realism; it is, instead,

refreshingly frank about what it is, a

simple, workable framework for the melees

and mayhem.

Early on, Mallory’s point man (Ewan

McGregor, with a very dorky haircut)

sends her to Dublin on unwanted armcandy

duty with another operative, the

dashing Paul (Michael Fassbender, in

glamor-boy mode). The two are very well

matched physically, in their sophistication

and their ruthlessness, which becomes

apparent when Paul, instead of putting the

make on her, tries to kill her.

At one point, the story is forced to the

grand New Mexico home of Mallory’s

father (a very good Bill Paxton). The house

becomes the setting for the film’s rough

penultimate battle before Mallory settles

up accounts with her superiors, who also

include the smooth top man played by

Michael Douglas and a more shadowy

Steven Soderbergh’s

heroine fights all

over the world

Ackerman surmised that

people are “drawn to a special

stripe of innocence they hope

to find” at zoos. Côté ostensibly

remains outside the debate

about whether commercial

animal parks are educational

facilities or inhumane prisons.

But Bestiaire deftly forces us

to consider our fascination

with other creatures and the

cost to them ofbeing placed

for our scrutiny in artificial

environments.

Sales FunFilm Distribution

Director-screenwriter

Denis Côté

Producers Sylvain Corbeil,

Denis Côté

figure portrayed by Antonio Banderas.

As solid as all the male actors are, in

the end the show belongs to Soderbergh,

who took a risk with a largely untested

leading lady, and Carano, whose shoulders,

and everything else, prove plenty strong

enough to carry the film.

Production Relativity Media

Cast Gina Carano, Michael Fassbender,

Ewan McGregor, Bill Paxton, Channing

Tatum, Mathieu Kassovitz


Imagination Worldwide_D1_020912.indd 1 2/3/12 5:07 PM

eviews

The black and white

supernatural drama is

cryptic and frustrating.

Keyhole

Maddin completists may be intrigued but to the

uninitiated, Keyhole will likely be bewildering

By David Roonie

Given how many

North American

independent films

get trotted out at festivals

that are contrived, trite or

formally uninventive, it feels

churlish to grumble about a

filmmaker like Guy Maddin,

who marches defiantly to the

beat of his own drummer.

But the Canadian maverick’s

Keyhole is an exercise in

opaque supernatural storytelling

that’s as frustrating as

it is beguiling.

In the black and white

film’s opening moments, over

the howling wind and lashing

rain of a stormy night, a

voice whispers, “Remember,

Ulysses, remember.” That

refrain signals a journey out

of Homer, but the odyssey

this time is between dreams

and murky reality, through a

haunted house crawling with

the ghosts of dead relatives.

In an unexpected but surprisingly

apt casting choice,

Jason Patric cranks up the

Hollywood tough-guy shtick

as 1930s gangster Ulysses

Pick, who returns home in

the middle of a shootout with

cops. When survivors and

fatal casualties all are asked

to line up against a wall,

28

it’s clear that death doesn’t

necessarily eliminate anyone

from the picture in this

creaking mansion.

Pick’s wife Hyacinth (Isabella

Rossellini, doing high

melodrama) mourns their

dead children in a locked of the

labyrinthine house that is full

of enemies living and deceased.

While this cracked world

is rife with treachery and sordid

sexual practices, there’s

also plenty of Maddin’s winking

humor.

But the stubbornly cryptic

Keyhole is literally a series

of locked doors, dead-end

corridors and nightmarish

repetitions that becomes

more laborious to follow the

nearer Ulysses gets to his

destination. While Maddin

describes the film as a step

toward more conventional

narrative, it feels like a step

farther away.

Production company

Buffalo Gal Pictures

Cast Jason Patric, Isabella

Rossellini, Udo Kier, Louis

Negin, Brooke Palsson, David

Wontner, Kevin McDonald,

Johnny W. Chang

Director Guy Maddin

Sales Entertainment One


In attendance: Arianne Fraser and Maria Rogers

Contact info: sales@highlandfilmgroup.com

Call: +1 310 972 9449 • www.highlandfilmgroup.com

HFG_D2_021012.indd 1 2/7/12 10:48 AM

screening guide

TODAY

9:00 A One-Way To

Antibes, Eyefeed, Sweden,

CinemaxX Studio 13, 101

mins.; Apartment in

Athens, L’Occhio e la Luna,

A movie Productions S.p.A.,

Alba Produzioni srl, Italy,


mins.; Badanhelan, Lost

In The Gobi Desert, Three

Dragons Films, China,

CineStar 7, 88 mins.; Big Is

Beautiful, Thelma Films,

Mon Voisin Production,

France, Kino Arsenal 1,

100 mins.; Brain Drain 2,

Antena 3 Films, Charanga

Films, Estudios Hackenbush,

Spain, CinemaxX

3, 103 mins.; Breathing,

Epo-Film Produktions

GmbH, Austria, CineStar

1, 93 mins.; Hotel Lux,

Bavaria Pictures, HerbX

Films, Colonia Filmproduktion,

Germany, MGB-Kino,

110 mins.; In Turmoil,

Le Bureau, France, Kino

Arsenal 2, 109 mins.; Iris

In Bloom, Aurora Films,

France, CinemaxX Studio 15,

75 mins.; Magic Silver 2 -

The Quest For The Mythic

Horn, Storm Rosenberg

AS, Orange Films, Antitoi

Production, Norway, India,

Germany, CineStar Event

Cinema, 85 mins.; Payback,

National Film Board of

Canada, Canada, CineStar

5, 86 mins.; Teddy Bear, SF

Film Production, Denmark,


mins.; The Sorcerer And

The White Snake, China,

JULI Entertainment Media

Co., Ltd, China, CinemaxX

5, 99 mins.; The State Of

Shock, Vertigo/Emotionfilm,

Slovenia, CinemaxX

Studio 11, 96 mins.; Twilight

Portrait, Interproekt

LTP, Russia, CinemaxX 4,

105 mins.; Welcome Home,

Hayabusa 3D, Shochiku

Co., Ltd., Japan, CinemaxX

9, 123 mins.

9:15 Alois Nebel, Negativ

s.r.o., Pallas Film GmbH,

Czech Television, Tobogang

Czech Republic, Germany,

Slovakia, CineStar 4, 84

mins.; Barbie, Nomad

Pictures, South Korea, Marriott

1, 99 mins.; Columbus

Circle, Oxymoron Entertainment,

USA, Marriott 3,

88 mins.; Elfie Hopkins,

Size 9, UK, CinemaxX 1,

90 mins.; The Eye Of The

Storm, Paper Bark Films

Pty Ltd, Australia, CinemaxX

Studio 14, 120 mins.

9:30 Coming Of Age, NGF

Geyrhalterfilm GmbH, Austria,

dffb-Kino, 90 mins.;

Dreams Of A Life, Cannon

and Morley Productions,

Soho Moon Pictures, UK,

Ireland, CineStar 6, 91

mins.; Early One Morning,

Les Films du Losange,

Need Productions, France,

Belgium, CinemaxX Studio

12, 91 mins.; Ecstasy,

Rob Heydon Productions,

Canada,Cubix 3, 100

mins.; Hamilton – In The

Interest Of The Nation,

Pampas Produktion AB,

Sweden, CinemaxX Studio

18, 108 mins.; House Of

My Father, Gary Sanchez

Productions, Nala Films,

USA, Cubix 1, 101 mins.;

NTV Promo Reels, Nippon

Television Network, Japan,

Marriott 2, 50 mins.; Our

Homeland, Star Sands,

Slow Learner, Japan, CinemaxX

6, 100 mins.; Romeo

Eleven, Reprise Films,

Canada, CinemaxX 2, 93

mins.; Sonny Boy, Shooting

Star Film Company,

Ester Reglin Film, Menuet,

Netherlands, Germany,

Belgium, CinemaxX Studio

16, 133 mins.;Zarafa,

Prima Linea Productions,

Pathé, France 3, Cinéma,

France, Belgium, Belgium,

CinemaxX 10, 78 mins.

9:40 About The Pink Sky,

Michael Gion, Japan, Cubix

2, 113 mins.

10:00 The Ambassador,

Zentropa Real Aps, Zentropa

International Sweden,

Potemkino, Denmark,

Sweden, Belgium, CineStar

2, 93 mins.; Voices Of Chile,

CYZ Media, USA, Parliament,

60 mins.

10:30 How To Stop Being

A Loser, Black And Blue

Films, UK, Marriott 2, 109

mins.

10:35 Cafe De Flore, Item

7, Monkey Pack Films,

Crazy Films, Canada,

France, CineStar 5, 120

mins.; Cleanskin, The UK

Film Studio, UK, CineStar 7,

110 mins.

10:40 The Parade,

Delirium Films, Mainframe,

Sektor Film, Serbia,

Croatia, Macedonia, Slovenia,

CinemaxX Studio 19,

115 mins.

10:50 009 RE:CYBORG,

009 RE:CYBORG Film

Partners, Japan, CineStar

1, 30 mins.; King Curling,

4 1/2, Norway, Kino Arsenal

1, 75 mins.

10:55 Sea Shadow, Image

Nation, United Arab Emirates,

Kino Arsenal 2, 98 mins.

11:00 Another Story Of

Love, Terrorismo Visual

Production, Chile, Marriott

3, 102 mins.; Emergo, Nostromo

Pictures, Spain, CinemaxX

Studio 11, 85 mins.;

Mama Illegal, Golden Girls

Filmproduktion & Filmservices,

Austria, CinemaxX

Studio 17, 102 mins.; The

Bird, Blue Monday Productions,

Arte France, France


mins.; The Fourth State,

UFA Cinema GmbH, Seven

Pictures, Germany, CinemaxX

4, 115 mins.; What’s

In A Name?, Chapter 2,

Pathé, TF1 Films Production,

France, CineStar 4

110 mins.; Woody Allen: A

Documentary, Whyaduck

Productions Inc., USA, CinemaxX

5, 120 mins.; Would

You Rather,Periscope

Entertainment, The Lambrick

Foundation, USA,

Marriott 1, 93 mins.; Y/N

You Lie You Die (True

Love), Mercurio Domina,

Wildside, Italy, CinemaxX 3,

103 mins.

11:10 The Door, Filmart Ltd.,

Intuit Pictures GmbH Hungary,

Germany, CinemaxX 9,

98 mins.; The Tall Man, SND

Groupe M6, Radar Films,,

Minds Eye Entertainment,

France, Canada, CineStar

6, 105 mins.; Trash, Forum

Films, Canada, CinemaxX 2,

94 mins.

11:15 Red Lights, Nostromo

Pictures, VS Entertainment

LCC, Spain, USA, Cubix 1,

120 mins.; The Mooring

In House, Media Film, USA,


mins.

11:30 Blissestrasse,

Shotz Ficton Film GmbH,

30

Alexander Sextus Limited,

Germany, Canada,


mins.; Combat Girls; Mafilm

Martens Film- und Fernsehproduktions;

Germany

CinemaxX 1; 103 mins.; Kid-

Thing, Zellner Bros., USA,

CinemaxX 6, 83 mins.; Land

Of Oblivion, Les Films

du Poisson, Vandertastic,

Apple Film Production Ltd.

France, Germany, Poland,

Ukraine, dffb-Kino, 100

mins.; LUV, LUV Films 5,

LLC, Hollywood Studios

International, USA, Parliament,

95 mins.; Sexual

Chronicles Of A French

Family, Toloda, Mokey Pack

Films, France, CinemaxX


Loneliest Planet, Parts And

Labour, Flying Moon Filmproduktion

GmbH, USA,

Germany, CinemaxX 10, 113

mins.; The Viral Factor,

Emperor Motion Pictures,

Hong Kong, China, CineStar

1, 122 mins.

11:45 Man On The Train,

Prospero Pictures, Canada,

Cubix 2, 100 mins.;

Romancing In Thin Air,

Media Asia Distribution

China, Cubix 4, 112 mins.

11:50 Planet Of Snail,

CreativEast, South Korea,

CinemaxX Studio 16, 87 mins.

12:15 Ghost Graduation,

MOD Producciones S.L.,

Think Studio, Spain, CinemaxX

Studio 15, 90 mins.

12:30 Headwinds, WY

Productions, Artemisia

Films, France, CineStar

7, 91 mins.; The Legend

Cafe De Flore

Of Kaspar Hauser, Blue

Film s.r.l., Shooting Hope

Productions s.r.l, Italy, CinemaxX


Ukraine 2012 - Short

Cuts, Ukrainian State Film

Agency, Ukraine, Marriott

2, 90 mins.

12:40 Rebirth, Le Cercle,

G&G Production, SFS

International, France, Kino

Arsenal 2, 92 mins.; The

Entrepreneur, Bibi Film TV

Srl, Italy, CinemaxX Studio

19, 94 mins.

12:45 Citizen Gangster,

Euclid 431 Pictures, Canada

CineStar 5, 105 mins.

12:50 Meet The Fokkens,

Submarine, Netherlands,

CinemaxX Studio 17,

70mins.; Xingu, O2 Filmes,

Brazil, CineStar Event Cinema,

102 mins.

13:00 Cherry On The

Cake, Soudaine, France

MGB-Kino, 85 mins.; Francine,

Washington Square

Films, USA, Canada, Marriott

3, 74 mins.; French

Kiss, Cité Amérique

Cinéma, Canada, CinemaxX

Studio 18, 85 mins.; Gypsy,

In Film Praha s.r.o., Rozhlas

a televízia Slovenska, Czech

Republic, Slovakia, CinemaxX


No Rest For The Wicked,

Telecinco Cinema, Lazona

Films, Spain, CinemaxX 9,

104 mins.; Scary Or Die,

Canal Street Films, USA,

Marriott 1, 92 mins.; The

Exchange, July August

Productions, Pandora

Film GmbH & Co., Israel,

Germany, CineStar 6, 94

day2_screeningguide.indd 1 2/9/12 5:51 PM

Bleiberg Ent_D2_021012.indd 1 2/7/12 9:37 AM

screening guide

mins.; The Opposite Of

Love, Zeta Cinema, Antena

3 Films, Spain, CinemaxX

3, 100 mins.; The Pact,

Preferred Content, USA,

CinemaxX 4, 89 mins.;

The Squad, Rhayuela

Films S.A., Colombia,

CineStar 4, 107 mins.;

Violeta Went to Heaven,

Wood Producciones, Malz

Producciones, Bossa

Nova Films, Chile,

Argentina, Brazil, CInemaxX


Wetlands, Max Films Inc.,

Canada, CinemaxX 2,

111 mins.

13:15 Beneath The Darkness,

Sunset Pictures, USA,


mins.; Soldier/Citizen,

Comino, Israel, CinemaxX

6, 69 mins

13:30 In My Mother’s

Arms, Human Film, Iraq Al

Rafidain, Human Film NL,

UK, Iraq, Netherlands, CinemaxX


Remembrance, MediaPark,

Germany, CinemaxX

1, 106 mins.; Skeem, Light

and Dark Films, South

Africa, Parliament, 112

mins.; Slavery By Another

Name, Twin Cities Public

Television, USA, Cubix 2, 86

mins.; Zama Zama, Kokamoya

Productions, South

Africa, dffb-Kino,

104 mins.

13:40 Farewell My Queen,

GMT Productions, Les Films

du Lendemain, Morena

Films, France, Spain, CineStar

2, 100 mins.

13:45 The Foster Boy,

C-Films, Bremedia Produktion

GmbH, Switzerland,

Germany, CineStar 1, 108

mins.; Tim & Eric’s Billion

Dollar Movie, Billion Dollar

Movie, LLC, USA, Cubix 3,

92 mins.; Trap For Cinderella,

Jones Company

Productions Ltd, UK, Cubix

4, 100 mins.

13:50 The Perfect House,

VL Production, Indonesia,


mins.

14:00 Seven Acts Of

Mercy, La Sarraz Pictures

srl, Elefant Films, Italy,

Romania, CinemaxX Studio

11, 103 mins.

14:15 Daddy, Kinorama,

Croatia, CinemaxX Studio

17, 70 mins.; Hard Romanticker,

Hard Romanticker

Prod. Committee, Japan,

Marriott 2, 110 mins.;

14:20 Le Tableau, Blue

Spirit Animation, Be-Films,

Agora Films, Switzerland,

Kino Arsenal 2, 76 mins.;

Replicas, Studio Movement/Sepia

Films, Canada,


mins.

14:30 Kathmandu Lullaby,

Media Films S.L.,

Levinver S.A./ES. Docu,

Spain, MGB-Kino, 103 mins.

14:35 Take This Waltz,

Joe’s Daughter Inc, Canada,


14:45 Kin/Blackbird, 2929

Productions, USA, CineStar

Event Cinema, 110 mins.;

Lawman, Travesty Productions

Canada, CinemaxX

Studio 18, 83 mins.; Redd

Inc., Green Light Productions,

Australia, CinemaxX

4, 93 mins.

14:50 Monsieur Lazhar,

micro-scope, Canada,


15:00 Beyond The Hill,

Bulut Film, Two Thirtyfive,

Turkey, Greece, CinemaxX

6, 94 mins.; Chola, Gitano

Films, Chile, Marriott 3, 12

mins.; Collective Body,

Pes24, Chile, Marriott 3, 39

mins.; Here Below, ARA

Prod., France 3 Cinema,

France, CinemaxX Studio

14, 100 mins.; Homework,

Gitano Films, Chile, Marriott

3, 12 mins.; Hunky

Dory, Aegis Film Fund,

Mulligan and Nesbitt Productions,

Prescience Film

Finance, UK, CinemaxX

3, 109 mins.; Jackpot,

Fantefilm Fiksjon, Norway,


Policeman, Laila Films,

Israel, CinemaxX Studio

13, 105 mins.; Salvage

Mice, Amazonlaterna Co.,

Ltd., King Records Co.,

Ltd., Hiroshima Home

Television, Japan, Marriott

1, 82 mins.; The Big Heart

Of Girls, Due A Film s.r.l.,

medusa Film S.p.A.,

Italy, CinemaxX Studio

12, 90 mins.; The Chef,

Gaumont, France,

CinemaxX 2, 84 mins,;

The Thin Line, Kungan

Project, Chile, Marriott 3,

10 mins.

15:15 Safety Not Guaranteed,

Big Beach Films,

Duplass Brothers Productions,

USA, Cubix 2, 85

mins,; Saxana, Pragofilm,

Rat Pack Filmproduktion

GmbH – Berlin, SPI International,

USA, CinemaxX

Studio 16, 94 mins.

15:25 Sueskind, FU Works

Productions, Cadenza Films

c/o FU Works, Netherlands,

CineStar 2, 118 mins

15:30 Delhi Safari, Krayon

Pictures Pvt. Ltd., People

Tree Pictures Pvt. Ltd.,

India, Parliament, 97 mins.;

Rampart, Lightstream Pictures,

Amalgam Features,

USA, Cubix 1, 110 mins.;

The Colour of The Ocean,

Suedart Filmproduktion,

Starhaus Filmproduktion,

Noirfilm, Germany, Spain,

CinemaxX 1, 96 mins.; The

Heineken Kidnapping,

IDTV Film, Netherlands,

dffb-Kino, 118 mins.; The

Rif Lover, Jbila Films

Mediterranee, Urban Factory,

Tarantula, Morocco,

France, Belgium, CinemaxX

Studio 15, 90 mins.

15:45 Guilt, Camera

Obscura Production,

Canada, Cubix 4, 91 mins.;

In The Name Of The Girl,

Ecuador Para Largo, USA,


mins.

15:50 About Face. The

Supermodels, Then And

Now, Perfect Day Films,

Inc., USA, CinemaxX Studio

17, 75 mins.; Rough Hands,

Dagham Film, Morocco,


mins.

16:00 Widows, Patagonik

Film group, Aleph Media,

Argentina, CinemaxX Studio

19, 100 mins.

16:15 La Run, Production

La Run Inc., Canada, CinemaxX

Studio 18, 104 mins.

16:20 High School, Parallel

Media, USA, Marriott

2, 102 mins.; Red Tears,

Kurata Promotion, Japana,

MGB-Kino, 87 mins.

16:30 Game Of Werewolves,

Telespan 2000/

Vertice 360, Vaca Films,

Spain, Marriott 1, 103

mins.; Midnight Son, Midday

Moon, USA, Marriott 3,

88 mins.; Two Days In New

York, Polaris Films Production

& Finance, France,


16:35 China Heavyweight,

EyeSteelFilm, YFM-Yuan-

Fang Media, Canada,

China, CineStar 5, 89 mins.

16.45 Hysteria, Informant

Media, USA, CInemaxX


The Dinosaur Project,

Dinosaur Productions

Ltd., Moonlighting Films,

UK, CineStar 4, 84 mins.;

Tormented, Ogura Jimusyo

Inc., Japan, CineStar 6,

83 mins.

17:00 A Letter To Momo.

Production I.G., Japan,

32

CInemaxX studio 12,

120 mins,; Ameriqua,

Jabadoo Productions,

Italy, CinemaxX 3, 90

mins.; Battle of Warsaw

1920, Zodiak Jerzy

Hoffman Film Production,

Poland, CineStar Event

Cinema, 115 mins.; In Film

Nist, Wide, France, Iran,


mins.; The Atomic States

Of America, 914 Pictures,

H Productions, USA, Cubix

2, 93 mins.; The Big Heart

Of Girls, Due A Film s.r.l.,

Medusa Film S.p.A., Italy,


mins.; The Last Friday,

The Royal Film Commission,

Hijjawi, Majd, ME

Films, Emirates, CinemaxX

6, 88 mins.

17:10 The Kick, The Kick

Company Inc., Bangkok

Filmstudio Co. Ltd., South

Korea, Thailand, CinemaxX

Studio 15, 94 mins.

17:15 Four Horsemen,

Motherlode Limited, UK,


mins.

17:30 Hut In The Woods,

Kahuuna Films, Germany,


Leave It On the Floor,

Leave It On The Floor LLC,

USA, Canada, CineStar

2, 106 mins.; Valley of

Saints, Peerwar Pictures

LLC, USA, CUbix 3, 82

mins.; Venus In Eros, RME

Europe/Rme Films, UK,

Parliament, 81 mins.; What

Is Love, KGP Kranzenbinder

Gabriele Production, Austria,

Cubix 1, 79 mins.

17:35 Venom, Straight Line

Movies, USA, CinemaxX

Studio 11, 81 mins.

17:40 The Day, Danella,

Guy, USA, CineStar 1, 90

mins.

17:45 Beast Pradise, Mezzanine

Films, Rhone-Alpes

Cinema, France, CinemaxX


Detachment, Paper Street

Films, USA, dffb-Kino, 100

mins.

18:00 The Moth Diaries,

Media-Max Inc, Samson

Films, Canada, Ireland,

MGB-Kino, 83 mins.

18:15 Come As You Are,

Fobic Films Ltd, Belgium,

CinemaxX Studio 18,

115 mins.; Freeloaders,

Broken Lizard Industries,

USA, CineStar 5, 80 mins.;

Helpless, Boim Pictures

Co. Ltd, South Korea,


Japan’s Wildlife: The

Untold Story, Toho Co.,

Ltd., South Korea, Marriott

3, 95 mins.

18:30 Below Zero, Twilight

Pictures, Canada, Marriott

2, 98 mins.; Love Fiction,

Samgeori Pictures Co.,

Ltd., South Korea, Cinemax


Giant Mechanical Man,

Taggart Productions, Two

Tall boots, USA, Marriott 1,

100 mins.

18:45 Ace Attorney, Nippon

Television Network

Corporation, Japan, CinemaxX


Asmaa, New Century, Film

Clinic, Egypt, CinemaxX


Dark Impulse, Telecinco

Cinema, Sentido Films,

Malvarrosa Media, Spain,


Oka!, James Bruce Productions,

Republic, CinemaxX


Spain, Dor Film Produktion

Ges. m.b.h., Kamera Film

OON, Austria, CinemaxX 6,

102 mins.

19:00 L, Beben Films,

Nova, Feelgood Entertainment

A.E., Greece, CinemaxX


La Bas – A Criminal Education,

Minerva Pictures

Group Srl, Eskimo SRL, Figli

del Bronx, Italy, CinemaxX


Pablo, Goldstreet Pictures

Inc., USA, Parliament, 95

mins.; The Crown Jewels,

Filmlance International AB,

Sweden, CinemaxX 10,

120 mins.

19:10 Lips, Drama Filmes,

Brazil, CinemaxX Studio 12,

104 mins.

19:40 Off White Lies, Gum

Films, KinoElektron, Israel,

France, dffb-Kino, 86 mins.

19:45 God Save My Shoes,

Caid Productions, USA,

CinemaxX Studio 19,

60 mins.

20:15 Mommy Is Coming,

Juergen Bruening

Filmproduktion, Germany,

CInemaxX Studio 18,

68 mins.

20:30 Lupe Of The Cow,

Foprocine, Mexico, CinemaxX

Studio 16, 79 mins.

20:45 Ang Babae sa

Septic Tank, Martinez

Rivera FIlmes, Phillippines,


23:00 V/H/S, The

Collective, Bloody-

Disgusting, USA, CineStar

2, 93 mins. thr

day2_screeningguide.indd 2 2/9/12 5:51 PM

C

M

Y

CM

MY

CY

CMY

K

WORLD MARKET PREMIERE

All Dark Places

Jamie and Christian give their marriage one last shot

for the sake of love and for their young son, Dylan.

But when Christian proves unable to hold up his end,

a malevolent force reveals itself as a haunting,

murderous clown.

Touch Me

SCREENING

M A R R I OT T 3 • 1 2 F E B • 1 9 : 4 0

A woman who's just learned she's HIV positive, and,

in an unfortunate bit of timing, has just started a

relationship with a longtime player.

• Stars Amanda PEET, Michael VARTAN,

Peter FACINELLI and Jane LYNCH

• HIGHEST RATED INDIE to air on LIFETIME

• OFFICIAL SELECTION / PRESIDENT’S CHOICE

TORONTO INTERNATIONAL FILM FESTIVAL

MARKET PREMIERE

MAJOR US DVD/BD RELEASE 20 MARCH

NETWORK DEBUT ON NBC/UNI’S CHILLER

Behind Your Eyes

A couple. A kidnapping. A secret.

A weekend to meet the parents

becomes a weekend of trying to

stay alive for perfect couple

Steven and Erika.

• “BEST FEATURE” at CIFF

• “SPECIAL JURY PRIZE” at

Las Vegas Film Festival

Red Surf

GEORGE CLOONEY CULT CLASSIC

A couple of drug-dealing surfers want to pull off one

final job before settling down with the woman he

loves. But when their friend talks to much to the

cops, a local drug lord hunts the two, seeking

revenge.

• Stars George CLOONEY, Doug SAVANT,

Dedee PFEIFFER and Gene SIMMONS

• “DYNAMITE” - Kevin Thomas, LA Times

Vesuvio International, EFM oce Martin-Gropius-Bau #145

Greg H. Sims, CEO (mobile: +1 310 562 5762 / ghs@vesuvioent.com) • Peter Dominguez, Vice President of International Sales (mobile: +1 858 775 5399 / peter@vesuvioent.com)

Online screeners available at cinando.com • Come to our stand to see the our complete catalogue

Vesuvio.indd 1 2/7/12 2:01 PM

CROWD FUNDING – How to harness the power of the

online audience to nance, promote and distribute

your lm.

The panel looks at the bene ts and pitfalls of going to the Internet for

nancing and examines di erent models of crowdfunding: from online

sites such as Kickstarter and Indiegogo to European crowd-sourced success

stories „Iron Sky“ and „Hotel Desire“ which combined online investment with

traditional lm funding.

MODERATOR

Scott Roxborough THE HOLLYWOOD REPORTER

EFM_FP_Bleed.indd 1 2/6/12 10:41 1:08 PM

AM

Shanghai Intl FF Berlin D2_021012.indd 1 2/2/12 2:31 PM

erlin memories

1956

Mr. Cooper CoMes to town:

Gary Cooper chatted with Germany’s Lily Palmer, who took the festival’s best actress

prize that year for Devil in Silk. Three years earlier, Cooper had created a stir in Berlin

when he spoke out against Sen. Joe McCarthy’s communist witch hunt in Hollywood.

36

day2_endpage.indd 1 2/9/12 11:52 AM

photo:heinz Koster / stiftung Deutsche KinematheK

TM Toronto International Film Festival is a trademark of Toronto International Film Festival Inc.

4439_TIFF12_industry_BerlinAd_HollywoodReporter.indd 1 12-01-10 4:13 PM

Toronto FF D2_021012.indd 1 2/8/12 9:35 AM

On the last day of high school, a young woman leaves

her world behind to begin a secret and mysterious

journey of self-discovery. Eighteen-year-old María is a

lonely and promiscuous dreamer struggling to make

sense of her life in harsh and vibrant Mexico City. She

embarks on an epic road trip, from Mexico City's urban

chaos to the deserts of Sinaloa and the vast oceans of

La Paz. Within these immense and shifting

landscapes, María comes of age. In a spectacular and

spiritual conclusion, the natural world embraces María

with pure poetic force.

SH RELINE

E N T E R T A I N M E N T

Shoreline_FP_Bleed.indd 1 2/6/12 1:09 PM

Berlin Day 2 - The Hollywood Reporter

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