the Day 5 'Daily' - The Hollywood Reporter

hollywoodreporter.com

the Day 5 'Daily' - The Hollywood Reporter

Photo by Pascal le segretain/getty images

thr.com/Berlin

diRectoR q&a

Joshua

Oppenheimer

page 10

Review

Gloria

page 12

Berlin

DAILY

№5

isabelle huppert

arrives at the

gala screening of the

berlin competition

entry The Nun.

feBruary

11, 2013

Star Power

Heats Up the

Chilly Berlinale

the race for the golden bear intensifies,

business picks up at the european

film market, and the biggest names

in global film hit the red carpet

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february 11, 2013

Breaking

news

The Grandmaster Set for

May Release in Korea, Japan

Schrader to

Pen Devil’s

Right Hand

By Scott Roxborough

Paul schrader is

attached to pen the

screenplay for the

upcoming feature The Devil’s

Right Hand, a thriller set

among modern day advertising

executives in New York.

The Taxi Driver and Raging

Bull scribe will adapt an

original story by Danish

screenwriter Anders Olholm,

moving the action from

Copenhagen to New York.

Michael Aoun and

Adam Neutzsky-Wulff from

Danish-based shingle Drama

Deluxe will produce the film,

with principal photography

continued on page 6

K5 Offers Venus

and Serena Doc

By Stuart Kemp and

Pamela McClintock

U.K. and german

sales and finance banner

K5 International

has boarded Maiken Baird

and Michelle Major’s controversial

documentary Venus

and Serena.

Baird and Major’s film

follows the emergence and

rise of tennis’ most formidable

and successful siblings,

Venus and Serena Williams.

Billed as offering a rare

opportunity to leap the often

media-controlled environment

of the living sports legends,

Venus and Serena offers

unprecedented access to their

lives, both in the spotlight and

behind closed doors.

The movie world-premiered

in Toronto with the

continued on page 6

Birch Tree Shops Sci-Fi Film

Atlantis Conspiracy

Closed Curtain Stirs Debate

The buzz around Jafar Panahi’s Berlin Competition film is drawing

international attention to the plight of Iranian filmmakers By Clarence Tsui

While The firsT

half of this year’s

Berlinale was

dominated by the enigmatic

The Grandmaster, the festival’s

second half will inevitably be

centered around a film even

more mysterious: a secretly

made piece from a filmmaker

currently serving out a 20-year

filmmaking ban at home.

With Jafar Panahi’s Closed

From left: Hugh Jackman,

Eddie Redmayne,

Anne Hathaway and Tom Hooper

arrive for the special Berlinale

screening of Les Miserables.

TWC Strikes Deal for U.S. Rights

to Vampire Pic Blood Sisters

By Pamela McClintock

Hoping for a franchise, The

Weinstein Co. has won a bidding war for

U.S. rights to Mark Waters’ big-screen

adaptation of Blood Sisters, the first book in Richelle

Mead’s best-selling Vampire Academy series.

Insiders say the deal is valued at north of $30

million, between the acquisition fee and marketing

commitment. TWC struck the pact with financiers

Reliance Entertainment and IM Global, and has a

1

Review: Guillaume Nicloux’s

Competition Film The Nun

festival tomorrow, details have

remained scant about the efforts

that went into not just the making

of the film — the festival

program describes Panahi actually

appearing on screen himself

to interact with his two socially

ostracized characters — but also

the means with which it was

transported to Berlin.

As Panahi’s co-director

and star, Kamboziya Partovi,

appears at the Berlinale Palast

see thr.com/Berlin

for full stories

berlin

№5

for the film’s premiere tomorrow

night, the plight of Iranian

filmmakers — and Iranians in

general, in the run-up to presidential

elections later this year

— will again move center stage.

The Berlinale has long been supportive

of Panahi, with festival

head Dieter Kosslick inviting

the Iranian filmmaker to sit on

the festival jury in 2011 at the

same time he was arrested and

Curtain making its bow at the continued on page 6

abOUT TOWn

two Hollywood studios were bidding for U.S. rights.

Blood Sisters is by far one of the biggest U.S.

deals to emerge so far from the European Film

Market, which runs in conjunction with the

Berlin International Film Festival. IM Global

is repping worldwide rights to the film and has

sold in many key territories. The film has sold

to eOne in the U.K. and Canada, Universum

in Germany, Metropolitan in France, West in

CIS, Hoyts in Australia and New Zealand and

rolling option on subsequent installments. At least continued on page 6

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Rex FeatuRes via aP images


the RepoRt

Howard Previews Rush

The director screens

near finished film to

foreign distribs while

Charlize Theron

pushes Dark Places

By Pamela McClintock

DirecTor ron howard

was in Berlin on Sunday

to screen a near-finished

cut of his Formula 1 movie

Rush for foreign distributors

who bought into the

project a year ago during

the European Film

Market. “We have a special

relationship with Berlin

and are very happy to

share this special film with

you,” Howard said during

the presentation, which was

organized by Exclusive Media

and Cross Creek Pictures.

Chris Hemsworth and Daniel

Bruhl star in Rush, which

chronicles the historic 1970s

rivalry between charismatic

Englishman James Hunt

(Hemsworth) and the disciplined

Austrian Niki Lauda

(Bruhl). Universal is distributing

Rush in the U.S., where it

hits theaters on Sept. 20.

“This movie will be a big

hit. Interestingly, women

really enjoyed it too,” said one

Operation Kino buys Iron Picker

for Turkey, Other Markets

Danis Tanovic’s Berlin Competition entry will be distributed by

the joint venture formed by four European film festivals By Clarence Tsui

OperaTion Kino has picKed up

rights to Golden Bear candidate An

Episode in the Life of an Iron Picker

for Turkey, Romania, Bulgaria and the

countries of the former Yugoslavia.

Operation Kino, a joint distribution initiative

launched by the Istanbul, Transylvania,

Sofia and Sarajevo film festivals.

Danis Tanovic’s film, which revolves

around an impoverished Roma woman’s

struggle to get treatment following her

stillbirth, will be released under the Media

Mundus-supported label, with the individual

festivals showing the title in their

program and then touring it around the

countries’ peripheral regions.

“’[The] festivals-as-distributors

business model proved attractive to the

From left: Dark Places director Gilles Paquet-

Brenner, Charlize Theron and Alex Walton,

president of sales distribution, Exclusive Media

prominent producer who was

invited to the screening.

Exclusive had another treat in

store for foreign buyers over the

weekend: Charlize Theron came

to Berlin to plug presales for Dark

Places, the big-screen adaptation

of Gillian Flynn’s best-selling

novel of the same name.

The actress signed a deal to

star in and produce the movie

on the eve of Berlin, just as

Exclusive Media announced it

would finance and produce the

2

From left: Alex Walton, president

of Exclusive International; Rush

screenwriter Peter Morgan; director

Ron Howard; and Guy East,

co-chairman of Exclusive Media

film with Theron’s production

company Denver and Delilah

Productions, Hugo Productions

and Mandalay Vision.

Gilles Paquet-Brenner

(Sarah’s Key) is directing Dark

Places, about a grown woman

who must re-investigate

whether her brother was really

responsible for the death of

their mother and sisters years

earlier. Alex Walton, president

of Exclusive International, is

selling the project at EFM.

Rival buyers say they love

the script, but question

whether foreign buyers will

embrace the story’s darker

themes. Theron’s involvement,

however, is a big plus. thr

rights-holders, especially in the developing

markets such as ours, since it guarantees a

blend of festival publicity and classic P&A

spending for their films, giving them sufficient

visibility to achieve attractiveness

in the ever-saturating market for films,”

said Jovan Marjanovic, the Sarajevo Film

Festival’s head of industry. “The fact that

the films acquired for Operation Kino get

wider releases with more publicity and

marketing adds to the competitiveness of

the model in relation to traditional distributors

in these territories.”

Additional acquisitions will follow, said

Istanbul festival director Azize Tan and

Transylvania festival head Tudor Giurgiu.

Iron Picker will also be made available on

VOD platforms. thr

Wrecking Hill Gets

Gallowwalkers

By Scott Roxborough

Heat Index

jennifer aniston

Aniston was already attached

to two projects being shopped

in Berlin. This weekend, she

also joined Peter Bogdanovich

comedy She’s Funny That Way.

gerard depardieu

With Isabelle Huppert and

Catherine Deneuve in Berlin as

ambassadors of French film,

Gerard Depardieu is just here to

support a vodka label’s party.

paul VerhoeVen

The Dutch filmmaker (Basic

Instinct, Total Recall) kicked

off the Berlin Talent Campus

program. Despite his work on

the much-maligned Showgirls,

he was feted as a master.

WrecKin’ hill enTerTainmenT

has picked up North American

rights to Gallowwalkers,

a sci-fi horror actioner starring Wesley

Snipes, from VMI Worldwide.

VMI also sealed deals for the feature

with Presidio for Japan and with Phoenicia

for the Mideast.

“Wesley is officially back in the U.S.,

and soon the rest of the world — we are

meeting our EFM goal to reintroduce

him to the audiences with Gallowwalkers,”

said VMI president Andre Relis.

Written and directed by Andrew and

Joanne Ray, Gallowwalkers features

Snipes as a cursed gunman besieged by

an army of the undead: the risen corpses

of the men he has killed. Producers

include Jack Bowyer, Courtney Lauren

Penn and Brandon Burrows. thr

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the RepoRt

rambling reporter

religious Talk

The late Sunday premiere

of Berlin Competition title

The Nun caused some talk

about the role of the church.

Director Guillaume nicloux

criticized church opposition

to prophylactics and abortion

as “extremism.” Meanwhile,

German star Martina Gedeck

came to her film’s screening in

a provocative red dress.

champagne Shower

Fast-rising German star Tom

Schilling (Oh Boy) got a little

too enthusiastic at an exclusive

Studio Babelsberg party at

SoHo House Friday night. Popping

a magnum bottle of Moët

Champagne, he drenched three

rows of besuited guests with the

resulting shower.

fan girl

French actress Melanie

laurent (Inglourious Basterds)

turned all fan girl at a THR

roundtable discussion in Berlin,

posing with Mikkel Boe

folsgaard. The young star

held her camera out to snap

a shot with the Dane who won

the Silver Bear for best actor in

Berlin last year for his feature

film debut in A Royal Affair.

Melanie

Laurent

THR .com

To download a PDF of the

The Hollywood Reporter’s

Berlin Film Festival,

go to:THR.com/Berlin.

The 2013 Berlin Poster Awards

THR pays tribute to the most amusing and

over-the-top promotional materials from

the fifth day of the EFM

BEST GUESS AT

THE OBVIOUS

Bob, Carol & Dick

We’re not exactly sure what

this movie is about, but let’s

make a quick educated guess:

Bob and Carol are in love and

on the verge of getting married

(or engaged), but Bob’s

crazy, breast-obsessed buddy

Dick is about to throw a monkey

wrench into the middle

of their relationship with a

whole bunch of inappropriate

behavior and zaniness. We

nailed it, didn’t we?

BEST rETUrn Of...

JOn lOVITZ?

Almost Sharkproof

Yes, you read that correctly.

That’s Saturday Night Live

alumnus Jon Lovitz holding

a handgun and looking

like a total badass. Bet you

never thought you’d read that

sentence in your lifetime, huh?

Next up: Chevy Chase in Fletch

3: Career Assassin.

4

BEST fAMIly drAMEdy (Or

HOrrOr dOcUMEnTAry)

Baby Blues

Is this Baby Blues IN 3D or

Baby 3D Blues? If it’s the

former, we’re guessing this is

a feel-good dramedy about

the trials and tribulations of

raising a newborn baby. But if

it’s the latter, we assume it’s a

documentary about the nightmare

of converting films to 3D.

BEST USE Of AnITIqUE

kETTlE AS cASH MAcHInE

the Brass teapot

LOGLINE: Scatterbrained

and disheveled young professional

man meets hot young

blonde who isn’t afraid to

show off her black bra strap

from underneath her skimpy

white tank top. Hot young

blonde introduces him to the

magical powers of her shiny

brass teapot, which causes

hundred dollar bills to suddenly

grow out of the floor.

And that’s when the real

craziness begins.

Rossellini

Returns With

Mammas

By Scott Roxborough

Model, actor and

now experimental

film director Isabella

Rossellini brings the separate

strands of her various

careers together in her new

film, Mammas, a sequence

of short films about nature’s

take on motherhood. Rossellini,

who studied to be a

costume designer, helped

create all the strange and

compelling animal costumes

on Mammas, taking

inspiration from

turn-of-thecentury

French

film director

Georges Melies.

Rossellini

“I’d design all

the solutions to the stories I

wanted to

tell and them give them to

the costume designers to

take to a higher level,”

Rossellini says.

The basic approach in

Mammas will be familiar to

anyone who has seen Rossellini’s

highly successful Green

Porno series. Each short features

the actress dressing up

as a creature — cuckoo bird,

hamster and bumblebee to

name but three in Mammas

— in order to illustrate a

scientific fact about natural

behavior. But while the

subject in Green Porno was

animal sex in Mammas it is

motherhood itself.

The start of the project

came from feminist biologists

that have done research

that show when we say

maternal instinct — meaning

something sweet and

self-sacrificing and generous

— that’s not based on how

nature is but on a prejudice

against women.”

Instead, as Mammas shows,

mothers, whether birds, fish

or insects are above all,

practical problem solvers. “It

find that very empowering,”

says Rossellini. “In nature

mothers are the managers of

life. Which is how I feel as a

mom.” thr

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M

Y

Y

Y

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the RepoRt

Closed Curtain

continued FRom 1

detained at home for making

“anti-government propaganda.”

At the opening ceremony, German

cultural minister Bernd

Neumann called on Tehran to

lift Panahi’s house arrest and

allow him to travel to Berlin.

With Panahi remaining in

Iran, Partovi will join Competition

jury member Shirin Neshat,

the U.S.-educated Iranian artistfilmmaker

whose work examines

the existence of women in fundamentalist

societies.

Meanwhile, last month’s

International Film Festival in

Rotterdam recruited Fatemeh

Motamedarya, a veteran

actress whom the authorities

banned from appearing on stage

or screen, as its Hivos Tiger

Awards juror; the Dutch event

also included a sidebar called

Inside Iran, which showcases

new Iranian films as well as

hosting events looking at the

country’s current social and

creative conditions.

Of all the artists traveling to

festivals worldwide to talk about

his country’s problems, Mohsen

Makhmalbaf is probably the

most prominent. Having spent

the past eight years in self-exile

— he left at around the time

the conservative Mahmoud

Venus and Serena

continued FRom 1

Ahmadinejad was elected

president in 2005 — the filmmaker

has been very vocal in his

criticism of the current Iranian

regime’s suppression of civil

rights and artistic freedom.

Makhmalbaf, whose latest

film, The Gardener, was screened

in Rotterdam, told THR he’s now

making a film about Iranian

refugees in London, where he

and his family are based. His

work and his festival appearances

are signs of defiance

against his opponents, he said:

“When I went out of Iran, they

said if I went out of the country I

wouldn’t be able to do anything.

But since then I have made eight

films, one film every year.”

But Panahi and Makhmalbaf

— and also the less overtly

political Abbas Kiarostami —

are also casting a large shadow

on a younger generation

sisters lined up to attend. But at the last minute, they pulled

out, withdrawing support for the film amid rumors that they

disagreed with the way in which their father was portrayed in it.

It explores how the sisters draw their greatest strength from one

another and overcome adversity, including life- and career-threatening

health problems, personal tragedy and media controversy.

Directed by Baird and Major, the film is exec produced by

Oscar-winning filmmaker Alex Gibney. The movie’s music is by

Grammy award-winning musician Wyclef Jean. Daniel Baur

negotiated the deal for K5 International and John Sloss for

Cinetic. K5 International is handling international sales for the

film. Cinetic is handling North American sales.

“We first sat down with K5 at the Doha Film Festival and were

taken by their enthusiasm for each of the films they had chosen

to represent,” said directors Baird and Major. “It is clear that K5’s

high standards require remarkable stories and subjects along

with original and outstanding storytelling. It is clear that when

they choose a film, it is more than just a title to sell, it is a film for

which they have a passion to share with audiences worldwide.”

Said K5 co-founders Oliver Simon and Daniel Baur: “There

are sports documentaries and then there are stories of such

bravery and the ability to overcome adversity that make this

film almost unbelievable.” thr

6

seeking to embark on different

approaches to filmmaking.

While at Rotterdam introducing

his film Fat Shaker — which

would go on to nab a Tiger

award — director Mohammed

Sirvani spoke of his need to

“fight the patriarchs.”

The schisms in Iran and

Iranian cinema are more

complicated than a simple

clash of reformists against

fundamentalists, said Mani

Haghighi, whose Modest Reception

also screened in Rotterdam.

As an artist, he told THR, “I

find myself fighting against a

clichéd image or style predominantly

expressed by Kiarostami,

Makhmalbaf or Jafar Panahi…

we learned a lot from them, but

different people express themselves

in different ways.”

Scott Roxborough contributed

to this report.

Schrader

continued FRom 1

Part of Closed Curtain’s

plot revolves around a

man in hiding for owning

a dog deemed “unclean.”

set to start this May.

Billed as a fast-paced thriller

along the lines of The Firm

or The Fugitive, in The Devil’s

Right Hand a group of powerful

New York executives share

a dark secret that, if revealed,

would destroy all their careers.

The producers are still

in negotiations for a director

and cast.

The Devil’s Right Hand

will be Drama Deluxe’s second

English-language feature

film, following the just-completed

The Stranger Inside.

LevelK, which is handling

worldwide sales for the thriller

starring William Baldwin,

Sarah Butler and Estella Warren,

has closed multiple territory

deals on the project at the

EFM in Berlin. thr

Vampire

continued FRom 1

Intercontinental in

Hong Kong.

The movie stars Zooey

Deutch, Lucy Fry and

Danila Kozlovsky.

In Blood Sisters, Rose

Hathaway develops a mental

and spiritual bond with her

“BVFF” (best vampire friend

forever), Princess Lissa.

The two girls attend a strict

school for vampires designed

to retain their humanity

where it is Rose’s task to

protect the Princess. Among

the everyday issues faced by

teenage vampires, Rose falls

for Dimitri, their dreamy

guardian, and together the

three battle the mysterious

forces of the evil Moroi who

are set on destroying the

Princess’s bloodline.

Blood Sisters marks Harvey

Weinstein’s first foray into the

young adult franchise arena.

His company is currently

riding high on the critical and

box office success of Oscar

best picture contenders

Django Unchained and Silver

Linings Playbood.

“I am thrilled to be working

on the first feature for

Vampire Academy. This series

is fantastic and I am excited

to bring it to the screen for

diehard fans and introduce

the stories to a whole new

audience,” said Weinstein.

The Vampire Academy

book series has sold more

than 8 million in copies in 35

countries. To date, there are

six titles.

Blood Sisters will be

produced by Don Murphy

and Susan Montford (Transformers,

Real Steel) of Angry

Films, Michael Preger

and Deepak Nayar of

Kintop/Reliance. IM Global

CEO Stuart Ford will

executive produce.

Added Murphy: “The

addition of Harvey and

the TWC distribution and

marketing team gives us

the opportunity to present

this wonderful franchise to

the world in a bold, unique

fashion and only adds to

Vampire’s considerable

momentum.” thr

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quotes

Yes,

I Did Say

That!

A look at who’s saying

what about Berlin

➼ “On the red carpet

when it’s really cold,

I don’t necessarily

feel it because the

adrenaline of being

there and the nerves

of it make my body

temperature go

way up.

JessIca chastaIn

The Oscar nominee discusses dressing for

the chilly Berlin red carpet

➼ “I always

enjoy being here.

Last year, I

unfortunately

wasn’t. I just

thought: “Weird,

it’s February, and

I’m not in Berlin.”

Isabella RossellInI

The Italian actress reacts to missing

the Berlinale in 2012

➼ “I wouldn’t

really say I’m a

grandmaster, so

there’s nothing

autobiographical

about the film.”

Wong KaR-WeI

The Chinese director speaks about

his Berlin opener The Grandmaster

that focuses on legendary martial arts

teachers in Hong Kong

➼ “I loved Romania,

but it took a while

to settle in. Shortly

after arriving I

was chased by

wild dogs!”

RupeRt gRInt

The Harry Potter star comments

on his work on the Berlin Competition

entry The Necessary Death of

Charlie Countryman

8

➼ “It’s all about

fashion here. It’s not

about movies. ”

aManda seyfRIed

The Lovelace actress when asked at a

press conference about whether she

would change her outfit for her two

premieres that both happened on

Saturday night .

Damon Grint

Seyfried

➼ “Yes, we expect

we have to do that,

and I’ll be getting

started on it as soon

as I get back.”

Joseph goRdon-levItt

The actor tells a Berlinale news conference

that he will cut out the most

graphic sex scenes from his directorial

debut, Don Jon’s Addiction, to qualify

for an R rating in the U.S.

➼“The Cold Lands is

a beautiful film. Now

I will get hammered

#Berlinale #ImAll

LikeMoviesAndShit

#Andwurst”

lIzz WInstead

The comedian and Daily Show

co-creator tweets on how

she’senjoying the festival.

➼ “His life is so

interesting, I never

get tired of talking

about him.”

Matt daMon

The Promised Land star sarcastically

replied to the press when asked about

Ben Affleck’s Argo Oscar chances and

whether he minds discussing his old

friend and business partner.

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Lightning Entertainment D5 021113.indd 1 2/10/13 4:49 PM

THE EFM DOCUMENTARY

NETWORKING PLATFORM

IN COOPERATION WITH THE EUROPEAN

DOCUMENTARY NETWORK (EDN)

MEETING POINT & DAILY SESSIONS

AT MARTIN-GROPIUS-BAU, SECOND FLOOR

STAND 201 & EFM LOUNGE

PHONE: +49 30 609027-451

Find the whole panel programme, the „Docs Spotlight“ selection (by IDFA and DOK

Leipzig) and further details on www.efm-berlinale.de / About EFM / Meet the Docs

European Film Market D3 020913.indd 1 2/8/13 3:09 PM

Partials Page D5 021113.indd 1 2/10/13 4:51 PM


Director Q&A

Joshua Oppenheimer

The documentary filmmaker talks about his surreal

Berlin entry The Act of Killing By Patrick Brzeski

American filmmaker

and human rights

advocate Joshua Oppenheimer

has made numerous

shorts and experimental

documentaries, but The Act of

Killing will likely be seen as his

big breakthrough.

Originally from Texas and

a graduate of Harvard and

central St. martins, london,

Oppenheimer was at work on a

film about the plight of indonesian

farm workers in 2003

(what would become The Globalization

Tapes, 2003), when

he began to encounter survivors

of indonesia’s 1965 ‘communist

purge’ — a historical atrocity

that resulted in the concerted

extermination of over 1 million

indonesian leftists.

Oppenheimer began interviewing

the aged killers and

eventually focused on a small

crew of former executioner,

giving them free reign to make

their own “movie” reenacting

their actions as death squad

leaders. Before it’s european

premiere in Berlin, Oppenheimer

sat down with THR

to discuss his unconventional

documentary process and why

it’s important to recognize the

humanity of mass murderers.

Errol Morris and Werner Herzog

are both credited as executive

producers on The Act of Killing.

How did they become involved

and what was their role?

my U.k. executive producer,

andre Singer, is the U.k. coproducer

on some of Werner’s

documentaries, and he told

Werner about the film. i happened

to be in london at the

same time Werner was there

with his film Into the Abyss and

andre suggested we meet. i

showed him some footage and he

was very intrigued. later i sent

him the fine cut of the film and

two months later, he contacted

me with his reaction and said he

wanted to do whatever he could

to get the film out to the world as

widely as possible, and he’s been

very wonderful ever since.

errol is friends with one of

my film school professors. i

showed him scenes back in the

beginning of 2010 and he also

said he wanted to be involved,

and has been an equally energetic

ambassador.

What first drew you to such

troubling material?

my father’s family was mostly

obliterated in the holocaust

and i grew up very much with

10

the sense that the central

moral and political question

is how do we prevent these

things from happening again.

and i don’t think we’ve done

a very good job of answering

that, because they do keep

happening again — over and

over. But the mantra of “never

again” — which is certainly

kind of a cliché in my community

— has far too often been

interpreted to mean “never

again to us.” implicit in “never

again to us” is this very sad

tendency to divide the world

into us and them: human

beings and monsters; good

guys and bad guys. That’s

what cinema usually does. So

it feels really important to

recognize that there are no

evil people.

How did you strike upon the

idea of having the perpetrators

reenact their acts of genocide —

in costume and campy Hollywood

genres?

i found that all of them had

no idea what a documentary

was — no sense of the propriety

of delivering sober

testimony. Because they had

been celebrated for what they

did. Testimony always comes

from people who are in some

way disempowered. i think that

when perpetrators win and

remain in power and can write

their own history, you don’t get

testimony; you get some kind

of boastful performance. So

here i’m meeting these men

who have never really seen a

documentary, who have no

sense that it would be appropriate

to sit down and offer

sober testimony with almost

forensic details about what

they did. instead, they have

been celebrated and have a

very strong notion of what a

Vital Stats

Nationality American

Born Sept. 23, 1974

Film in Berlin The Act of Killing

(Panorama)

Selected Filmography

The Globalization Tapes, 2003;

The Entire History of the Louisiana

Purchase, 1998; These Places

We’ve Learned to Call Home, 1996

Notable Awards Gold Hugo for

The Entire History of the Louisiana

Purchase; Gold Spire for These

Places We’ve Learned to Call Home

movie is, because they’ve seen

all kinds of Hollywood films

and spent their youth working

as movie theater gangsters

selling black market tickets,

and killing the so-called

“communists” and leftists who

had boycotted the import of

american movies at that time.

So i come in as an american

moviemaker, and they have a

vague feeling that they’ve murdered

on behalf of american

movies and they just assume i

want to make a film that really

shows and dramatizes what the

killing was like for them.

What were the advantages of

this method of allowing the

subjects to create their own

scenes for you as a documentary

filmmaker?

another facet of how this

method came about is that i

didn’t have any preconceptions

about what a documentary

should be either. i don’t think

of myself as a documentary

filmmaker. i know i’ve made

a non-fiction film, but i’m

someone who believes that the

moment you film anybody, you

create reality with that person.

if you film a little boy going

to school, the big event in that

boy’s day and all the classmates’

and teachers’ day is you being

there filming, not the school.

and most of the time observational

documentarians actually

create a fictional reality with

their characters, and the fiction

is precisely this: they simulate

the filmmaker’s absence. We

essentially tell everyone to act

normal and ignore the camera,

but that’s acting.

What did you learn while

making this film?

i realized that if i could give

these men a chance to stage

what they did, and how they

feel about it — which are two

different things — and

document the process, i would

be able to answer those

questions. So i think what i

did was create the conditions

for an observational documentary

of the imagination, rather

than an observational

documentary of everyday

occurrences. So in that sense,

we make something previously

invisible, visible. thr

day5_q&a_oppenheimerA.indd 1 2/10/13 4:39 PM


See & be Seen.

Daily, breaking news and reviews from the front lines

at all major international film festivals.

Berlin

International Film Festival

Mar 18-21, 2013

Filmart

Hong Kong International Film & TV Market

Festival de

Cannes May 15-26, 2013

Sept 5-15, 2013

THR’s dedicaTed coveRage aT eacH fesTival includes:

Preview Issue | Festival & Market Dailies | THR.com | Mobile | Events

Contact:

United StateS | Debra Fink | debra.fink@thr.com

eUROPe & aFRiCa

Alison Smith | alison.smith@thr.com // Tommaso Campione | tommaso.campione@thr.com

aSia | Ivy Lam | ivy.lam@thr.com

aUStRalia/new Zealand | Lisa Cruse | lisa@spiritedmedia.co.nz

Toronto

International Film Festival

Busan

International Film Festival Oct 2013

nov 2013

[PROMOTION]

Feb 7-17, 2013

AFM

American Film Market

Festivals_Berlin.indd 1 1/30/13 4:11 PM


Reviews

Gloria

Paulina Garcia plays a divorced woman

taking a shot at mid-life love in Chilean

director Sebastian Lelio’s character study

By David Rooney

Hardly the Most

richly served of moviegoing

demographics,

smart middle-aged women will

give a warm embrace to Gloria,

making it a seemingly surefire

contender for significant arthouse

acceptance. But it’s hard

to imagine anyone with a heart

and a brain not responding to

the quiet delights and stunning

intimacy of Chilean director

Sebastian Lelio’s account of the

personal evolution of a 58-yearold

divorcee, played with scrupulous

honesty and intelligence by

the wonderful Paulina Garcia.

A large part of the cumulative

joy of this movie is considering

all the ways in which the story

might have been mishandled.

Midlife sexual desire, secondchance

romance, the hunger for

companionship, the challenging

path toward self-reliance — these

are all potential minefields ready

to set off explosions of mawkish

cliché. But Gloria is a work of

maturity, depth and emotional

insight. There’s not a single false

note here to push the uplifting

empowerment or resilience

angles, or the conclusion that

having a man is not a requirement

to feel complete. Yet those

non-strident feminist themes

emerge organically, without the

need to be articulated.

The title character is first

glimpsed at a Santiago dance

club populated by similarly

middle-class midlifers. She gets

pleasantly tipsy and flirty with

an old acquaintance, yet fails

to seal the deal. Gloria shuffles

home alone not only to endure

the screaming rants of the

bipolar stoner living upstairs,

audible through the ceiling, but

also to find his whiny hairless cat

in her apartment. In one of many

touches of sly humor, this ugly

animal appears to have decided

that Gloria’s best option is to

become a lonely cat lady.

Still attractive and well

put-together, but in a way that

suggests a lack of vanity or the

standard terror of aging, Gloria

holds down a decent job and

invariably takes the initiative in

seeing her grown children. Her

son Pedro (Diego Fontecilla) is

a single father to a kid whose

mother is out of the picture,

while her daughter Ana (Fabiola

Zamora) teaches a yoga class

and has a budding relationship

with a Swedish ski enthusiast.

Divorced more than a decade

Much of the action

takes place in a real

Soviet-era factory.

For Marx...

Svetlana Baskova’s Neo-Marxist political drama

ends up more Groucho than Karl By Stephen Dalton

12

Garcia conveys

middle aged

lonliness without

self pity.

ago, Gloria is much too levelheaded

to sit around moping in

self-pity, but clearly something

is missing. That threatens to

change when she meets Rodolfo

(Sergio Hernandez), a softspoken

gent with a puppy-dog

air, whose marriage ended more

recently. The owner of a small

fun-park offering paint-gun

battles and bungee jumps, he is

in the process of restarting his

life after gastric bypass surgery

and dramatic weight loss.

There’s a pleasing economy

of means throughout the film,

but particularly in Lelio’s way of

chronicling their fast-blooming

romance. This is complemented

by the candor with which

cinematographer Benjamin

Echazarreta covers the sex

scenes, observing their aging

bodies with neither judgment

nor embarrassment.

Gloria is clearly reinvigorated

by the relationship yet is not the

type to get all girly and airborne,

even as Rodolfo reads her love

poems in bed. She’s aware that

he comes with baggage, and

even the vintage ringtone of his

cell phone is a hint of his ties to

the past. The two needy grown

daughters he supports financially

are a noose around his neck but

Karl Marx would probably start revolving in his

grave if he could see all the dreadful art, literature and

pop-culture effluvia that his works have inspired over the last

100 years. But at least this contemporary experiment in “Neo-

Soviet cinema,” showing this week at the Berlinale, is founded on

an intriguing premise. A self-conscious throwback to the heavyhanded

socialist realism of the USSR, visual artist turned writerdirector

Svetlana Baskova’s manifesto-like thriller explores the

struggles of former communist-era factory workers in the current

harsh climate of credit-crunch capitalism. Although it misses its

target, the film should find a readymade audience at further festivals,

with potential niche appeal to overseas distributors.

Shot in the crumbling depths of a real metal foundry, For Marx

opens with a splinter group of workers setting up an independent

labor union to counteract the corrupt, toothless union in bed with the

factory bosses. Between political meetings and protest rallies, these

weather-beaten proletarian heroes share lengthy discussions on Gogol,

Godard, Brecht, Stanislavski and other great revolutionary artists.

Meanwhile, their philistine playboy employers sip champagne in

their penthouse offices, ruthlessly forcing down wages and ignoring

safety rules while lavishing millions on fancy artworks to decorate

day5_rev_gloriaA.indd 1 2/10/13 6:04 PM


also evidence of his own dependence;

he drops everything to

run whenever they call. He also

declines to “complicate” things

by telling them about Gloria.

But Rodolfo’s weakness becomes

impossible to ignore when he

reacts to feeling shut out of family

reminiscences during Pablo’s

birthday dinner by slipping away

silently, humiliating Gloria.

Much of the movie’s second

half is given over to Gloria

resolving to cut her losses and

shut the door on the sweet

but spineless man who keeps

begging for a second chance.

When she relents, and agrees

to a resort weekend, the look of

helplessness on his face even as

he tries to ignore a freshly arisen

emergency back home is both

touching and pathetic.

A lot of women put through

the deflating situations Gloria

experiences would crumble. But

in Lelio and Gonzalo Maza’s

perceptive script, the character

retains dignity and behavioral

credibility even through the

messy episodes that signpost her

quiet catharsis. Onscreen for the

duration in a story seen entirely

from Gloria’s perspective, Garcia

is remarkable, not least for the

rigorous unshowiness and integrity

of her performance, effortlessly

balancing self-effacement

with self-possession.

Chilean social context is

sketched in with just a few

brief verbal or visual nods to

government disillusionment,

popular unrest, corruption and

the escalating cost of living,

making a strong sense of self

a more vital asset. But the

personal world depicted here is

a universal one.

Competition

Production companies Fabula,

Muchas Gracias, Nephilim

Cast Paulina Garcia, Sergio

Hernandez, Marcial Tagle

Director Sebastian Lelio

Screenwriters Sebastian Lelio,

Gonzalo Maza

Producers Juan de Dios Larrain,

Pablo Larrain, Sebastian

Lelio, Gonzalo Maza

Sales Funny Balloons

their plush boardrooms. Class war becomes inevitable, with the

mafia-like factory bosses soon resorting to blackmail, bribery,

intimidation and even murder.

Sadly, Baskova and her team talk a better film than they can

deliver. The crudely delineated contrast between brave, noble, cultured

workers and ruthless capitalists may be a piece of knowingly

nostalgic caricature, but it still feels jarringly clunky. And while

the dialogue pays tribute to Brechtian alienation technique, which

was designed to jolt audiences into political action with its pointed

artificiality, the filmmakers prove remarkably timid in deconstructing

their own dramatic conventions. Baskova’s skewed tribute to

the classic tropes of Soviet propaganda cinema is a commendably

ambitious work. But to paraphrase Marx himself, this is not history

repeating itself as tragedy, more like clumsy farce.

Forum

Production company Cine Fantom, AD Studio

Producers Anatoly Osmolovsky, Andrey Silvestrov, Glev Alienikov

Director/Screenwriter Svetlana Baskova

Cast Sergey Pakhomov, Aleksandr Kovalev, Lavrenty Svetlichny

Sales company Cine Fantom

13

In 1890’s Canada, everybody was off to the KlondiKe

Gold Rush, and in Thomas Arslan’s Gold, seven German-American

immigrants decide to get there the hard way, via hundreds

of miles of uncharted wilderness. It’s a long and surprisingly

uneventful trek for the audience as well as for the band of hopeful

gold diggers, who plod sullenly through Arslan’s unimaginative

script to the accompaniment

of an oft-repeated guitar

chord. A far cry from the

iconic American Westerns

of yesteryear, or even a tip

of the hat made by foreigners

like Sergio Leone, Gold

shows so little feeling for

virgin forests and majestic

panoramas, it feels more like

a road movie than a Western.

Only the luminous presence

of Nina Hoss as a courageous

adventurer gets the story off

the ground and should augur

some domestic success. Off-

Gold

A band of immigrants take off for the Klondike

Gold Rush in Thomas Arslan’s German-language Western

By Deborah Young

Hoss answers an ad to

journey to the Klondike in

search of gold.

shore, markets are likely to revolve around ancillary.

The only German director in Berlin competition this year,

Arslan is a veteran of Berlinale sidebars, where he has earned a

following with genre films and character studies like Dealerand In

the Shadows. His idea of following German New World immigrants

up to the Yukon in search of a better life is intriguing in

itself, though it obviously involves measuring up to one of the most

heavily mined genres in cinema.

Emily Dreyer (Hoss), whose dour schoolmarm expression can’t

hide the fact she’s a classy blonde, makes her lonely descent from

a steam engine in a Far West town like Claudia Cardinale arriving

in Once Upon a Time in the West. She soon joins a small party of

German speakers who have answered Wilhelm Laser’s (Peter

Kurth) ad to journey overland to the Klondike. He sells them the

necessary and promises them a pleasant six-week journey north on

horseback to Dawson City. Only people as poor and desperate as

they are wouldn’t smell a rat. The group includes an older couple

who will do the cooking from a covered wagon and bossy young

newsman Muller (Uwe Bohm) who intends to report on the trip for

a German paper in New York, as well as get rich very quickly.

Though she hides it well, Emily’s interest focuses on the one

competent male in the lot, Carl Boehmer (Slovenia actor Marko

Mandic), who has been hired as a packer and takes care of the

horses. Dressed like a scraggly cowboy, Carl makes some wise

decisions in the course of the film, but remains disappointingly

unheroic. By the time Emily reveals to him she’s a German-born

maid from Chicago who has been married and divorced, and Carl

confesses to killing a cattle rustler and being on the run from the

dead man’s vengeful brothers, they are practically friends. Though

restrained by the script, Hoss and Mandic are both strong actors

who create some quiet sparks.

Competition

A Match Factory presentation of a Schramm Film Koerner &

Weberproduction I association with Red Cedar Films, Bayerischer

Rundfunk, ARD/Degeto, Westdeutscher Rundfunk,Arte

Cast Nina Hoss, Marko Mandic, Uwe Bohm, Lars Rudolph

Director/ Screenwriter Thomas Arslan

Sales Agent The Match Factory

day5_rev_gloriaA.indd 2 2/10/13 6:04 PM


Reviews

Vic + Flo

Saw a Bear

This visually striking Canadian revenge drama

mixes the horrific with the eccentric By David Rooney

The lesbian tough gals

who used to be behind

bars in 1970s exploitation

movies are on the outside in

tranquil Canadian forestland,

suspended in a cinematic landscape

someplace between Wes

Anderson and Eric Rohmer in

Vic + Flo Saw a Bear. Montreal

critic-turned-filmmaker Denis

Cote’s bizarre anti-melodrama

of doomed love and gruesome

revenge comes on strong with

sharp visuals and eccentric

humor, but its mannerisms

become too studied and its pace

stultifying, which makes the

film rarely as much fun as its

title. However, anything this outthere

is bound to find at least a

small coterie of champions.

Cote made one of the more

arresting movies to hit the

festival circuit last year with

Bestiaire, a unique documentary

that offered a haunting,

near-wordless contemplation of

the relationship between man

and beast from both perspectives.

This narrative feature has

a comparable elegance but a

more mischievous spirit, shifting

from droll detachment through

more sober interludes to sudden

jolts of extreme violence, and

ultimately, to a whisper of bittersweet

afterlife whimsy. It’s a

movie that informs us — a little

smugly — that it marches to its

own drummer.

The drum is heard literally

in composer Melissa Lavergne’s

tribal war signals that punctuate

the action with growing

intensity, forewarning of the

horror that’s coming. In essence,

the film is a twisted outlaw

genre piece, about female excons

released back into society,

who remain suspicious if not

downright defiant of its codes.

At 61, Victoria (Pierrette

Robitaille) is let out early from

a life sentence for an unknown

crime. A hardened woman with

a blunt manner and a derisive

sense of humor, she retreats to a

secluded former sugar shack in

the woods, owned by her uncle,

Emile Champagne (Georges

Molnar). A surreal frontier

figure with his long white mane

The Weight of Elephants

The loneliness and cruelty of childhood, and the

bruises of abandonment are at the heart of Daniel Joseph

Borgman’s feature debut, The Weight of Elephants. Reflecting

the writer-director’s background, the contemplative drama combines

a deeply felt connection to the sleepy suburban isolation of

his native New Zealand with a psychological approach typical of

much Danish cinema, where he has put down professional roots.

This not-quite-seamless duality is overlaid with a self-consciously

poetic sensibility to mixed, if occasionally poignant, results.

Inspired by Australian writer Sonya Hartnett’s novel Of a Boy,

the story centers on introspective 11-year-old Adrian (Demos Murphy),

placed by his unfit mother in the care of his Gran (Catherine

Wilkin), a no-nonsense, warmth-free zone. Bullied as an outsider at

school, Adrian feels closest to his Uncle Rory (Matthew Sunderland),

a manic-depressive whose volatile mood swings frequently

plunge him into despair.

Fascinated by news reports of three abducted children, Adrian is

also strangely drawn to the ostracized foster kids at school. But he

needs little help in being socially exiled on the playground. When

a family moves into a shabby house on his street, with three young

14

and beard, he has been reduced,

presumably by a stroke, to a

mute witness confined to a

wheelchair. While it’s unclear

whether Vic ever had any real

affection for the old coot, she

curtly dismisses Charlot (Pier-

Luc Funk), the clueless teen

taking care of Emile, thus making

enemies of the boy and his

father (Olivier Aubin).

Cote’s elliptical approach

eliminates most of the standard

connective thread and pretty

much all of the exposition, so

characters tend to appear rather

than be introduced, and their

back-story remains guesswork.

Three key figures arrive on

the scene. The first is Victoria’s

Newcomer

Murphy turns in

an accomplished

performance.

parole officer Guillaume (Marc-

Andre Grondin), who initially

seems strictly by-the-book

but is steadily revealed to be

sympathetic and invested in

her readjustment. Next comes

Florence (Romane Bohringer),

Vic’s younger former cellmate

and lover, who has other reasons

besides reconnecting to want

to shack up in the out-of-theway

spot. Finally, a stranger

introducing herself as Marina

St.-Jean (Marie Brassard) shows

up offering gardening tips and

flirting with Vic before exposing

herself as a ghost from the past.

Much of the ambling midsection

centers on Vic’s mounting

anxiety that restless Flo will

This intimate drama chronicles an 11-year-old boy’s struggle

with isolation and abandonment By David Rooney

children left unsupervised to run wild, he begins to fantasize that

they might be the missing kids.

As his sole friendship with classmate Clinton (Finn Holden)

crumbles, Adrian cautiously gets to know his new neighbors. Sixyear-old

Joely (Hannah Jones) is open and trusting, but her toughacting

older sister Nicole (Angelina Cottrell) is wary. However, as

Adrian reveals his own unhappiness and gains insights into their

family situation, he finds common ground with the preteen girl.

Borgman hasn’t managed to satisfyingly tame the novelistic

origins of the story, and the film is more successful on a

day5_rev_spread2A.indd 1 2/10/13 4:57 PM


Marie Brassard and

Romane Bohringer star

as a lesbian couple

who met in prison.

leave her. More of a cell-block

lesbian than a dedicated fulltimer,

Flo provides plenty of

cause for worry, hooking up

with a hunky black barfly (Ted

Pluviose), cruising a hot young

racer at the go-cart track

(Dany Boudereault), and even

coming on to handsome gay

Guillaume. (For a movie about

a lesbian couple, there’s quite

an assortment of man candy

here.) But Vic assures her

that they will end up together,

which proves prophetic, though

not in the way she anticipated.

The nature of the violence

is grotesque and unexpected,

and without giving too much

away, carried out on the orders

of one of the most amusing

butch bitches since the heyday

of Mercedes McCambridge.

But while Cote lavishes much

attention on the stylistic quirks

and notes of oddball humor,

he neglects to authenticate the

emotional stakes for Vic and

Flo. They remain somewhat

limited as characters, despite

solid work from Bohringer and

especially Robitaille.

It’s all very well to toy with

genre elements by making

incongruous aesthetic and tonal

choices and adding an offbeat

sensibility. But the director still

needs to make us care about his

characters. Still, there’s lots to

appreciate in this idiosyncratic

film, not least in the witty visual

compositions and desaturated

color palette of cinematographer

Ian Lagarde, and in Cote’s

knowing use of nature as a stage

for human comedy and tragedy.

There’s also a delicious bite of

’80s French electropop on the

end credits, wryly commenting,

“It’s a pretty way to die.”

Competition

Production companies

La Maison de Prod, Metafilms

Cast Pierrette Robitaille,

Romane Bohringer, Marc-Andre

Grondin, Marie Brassard,

Director-screenwriter

Denis Cote

Producers Stephanie Morissette,

Sylvain Corbeil

Sales Films Boutique

scene-by-scene basis than as a whole. It’s at its best when observing

the ways in which kids observe one another. The mix of circumspection,

curiosity, envy, animosity and defensiveness common to new

childhood encounters is depicted with sensitivity, contrasting with

the tribal rules of engagement for boys deciding who’s in and who’s

out of the popular group.

But while his sound and visual elements are often quite beautiful,

Borgman is over-reliant on lyrical slow-motion sequences to

convey both the dreamy and troubled sides of Adrian’s inner life

and the world as he sees it. This contributes to the film’s nagging

preciousness, which is worsened by the tendency to stuff the

thoughts of an adult screenwriter into the mouths of children.

“We’re making a memorial,” says Nicole when the search for the

missing kids is called off. “If we don’t care, who will?” False notes

like this one are lethal.

Forum/Generation

Production companies Zentropa Entertainments5,

Severe Features, Film I Vast, Zentropa Sweden

Cast Demos Murphy, Matthew Sunderland, Catherine Wilkin

Director-screenwriter Daniel Joseph Borgman

Producers Katja Adomeit, Leanne Saunders

Sales NZ Film

15

Before Midnight

Delpy, Hawke and Linklater reunite for a third installment

of the Before series By John DeFore

Faces crease, bodies swell, and life accumulates

such a mountain of crummy responsibilities it seems

there’s no space left for living. But the work Richard

Linklater and company started in 1995’s Before Sunrise retains

a clarity of spirit undimmed by 18 years. In Before Midnight, its

two lovers not only have longings and worries we identify with;

they fight as we do, too. They are as convincing in middle age as

they were as passionate youths sharing a one-night encounter.

Though this stage is harder to watch, audiences who have aged

along with Celine and Jesse will treasure this new episode.

Yes, Jesse (Ethan Hawke) missed his plane at the end of

2004’s Before Sunset. He wound up leaving his wife, pairing up

with (but not marrying) Celine (Julie Delpy), and having twin

girls. We meet the family at the end of a Greek vacation, with

Jesse awkwardly packing son Henry onto a plane to Chicago,

where he lives year-round

with Jesse’s ex-wife. The lovers

have moved from infatuation

to weary parenthood

in between movies, and as

Linklater observes their long

ride from the airport back

to their vacation house, full

of low-level bickering about

jobs and parenting, one

worries the characters have

forgotten how to talk about

their inner lives.

Not so. Meeting up with

their hosts and Greek

Delpy and Hawke

deal with the

challenges of

middle age.

friends for a final, leisurely dinner, they get philosophical about

human connection in the digital age, about romantic commitment

and ideals that might never have worked for anybody.

Then they set off, just the two of them, through ruins and

cobblestone alleys. Their friends have rented them a nearby

hotel room and offered to watch the twins, and their trip to this

romantic night together affords us the kind of extended walkand-talk

pleasure that was so absorbing in the first two films.

Then comes the hotel, the start of some “I still think you’re

hot” sex...and a ringing cell phone. The fight that ensues is

agonizing, with new scabs pulled off every time the anger seems

about to subside. As in Before Sunset, Hawke and Delpy wrote

the script with Linklater, and this painful centerpiece feels like

the distillation of three lives’ worth of real-world meltdowns.

It’s also often very funny.

If the first film ended with us wondering if the two would

actually keep their “we’ll meet in six months” date, and the

second wondered if Jesse would give in to temptation, Before

Midnight offers the possibility that the couple’s odds-defying

relationship will end in a one-day conflagration of pent-up

resentment and parental guilt. The previous films’ manufactured

deadlines — a train departure, a trip to the airport — are

no longer with us; the pair are now together until they decide

not to be. Turns out, that’s as dramatic as a ticking clock.

Out of Competition

Production company Faliro House, Venture Forth,

Castle Rock Entertainment

Cast Ethan Hawke, Julie DelpyTsangari, Panos Koronis

Director Richard Linklater

Screenwriters Richard Linklater, Julie Delpy, Ethan Hawke

Sales John Sloss

day5_rev_spread2A.indd 2 2/10/13 4:58 PM


Hoping to answer the

question posed by the

famous Shirelles song

— which, as is de rigueur in any

recent Asian film, is performed

here in a full-length Karaoke

version — writer-director Arvin

Chen’s Will You Still Love Me

Tomorrow? follows two Taiwanese

couples trying to stick

together amid emotional and

sexual upheavals that threaten

the sanctity of their safe (and

hetero) relationships. Wry

and whimsical, but perhaps

too broad for artsy Western

tastes, this ensemble romantic

dramedy should see decent

business in the East (Warner

Bros. is releasing in Taiwan),

with ancillary possibilities in

other markets, including those

catering to the LGBT set.

From its playful premiere

sequence, which concludes with

a character opening an umbrella

and floating up to the sky,

Tomorrow distinguishes itself

from the kind of dark, Taipeiset

stories that have filled fests

16

and art-houses over the last few

decades. Indeed, the American

born-and-educated Chen’s

debut feature, Au Revoir Tapei,

was already a genre-jumping

crossover, and his latest seems to

tread in similar waters, sharing

influences with both local

classics (Edward Yang — another

purveyor of 60’s pop — comes to

mind) and works from Hollywood’s

Golden Age, especially

the Technicolor romances of Vincent

Minelli and George Cukor.

But this lighthearted tale of

repressed sexuality and marital

woes seems to have a different

kind of agenda, even if it often

American-born

Chen fills the screen

with colorful images

and characters.

Will You Still Love Me Tomorrow?

Arvin Chen’s sophomore feature is an ensemble

romcom set in contemporary Taipei By Jordan Mintzer

Narco Cultura

Director Shaul Schwarz’s documentary examines growing

popularity of Mexico’s ‘narco ballads’ in the U.S. By Justin Lowe

The lyrics to narco

ballads often focus on

violent imagery.

fits the mode of your typical

mainstream romcom, with the

usual run of quid pro quos, mistaken

identities and botched

wedding plans.

The story focuses on two

thirty-something pairs: On the

one side there’s the affable optician,

Weichung (Richie Jen),

who’s been married for nine

years to corporate clerk, Feng

(Mavis Fan, excellent). And on

the other there’s Weichung’s

sister, Mandy (Kimi Hsia), a

sexy maneater who’s decided to

finally settle down and tie the

knot with the friendly sad sack,

San-San (Stone).

For those who think that Mexico’s brutal drug wars

have yet to cross the border, Narco Cultura presents an

ongoing cultural invasion, as the Mexican musical phenomenon

of narcocorridos (drug ballads) seeps into the U.S.

Passably absorbing to start, Shaul Schwarz’s examination of

the issues surrounding Mexican and immigrant musicians who

glorify drug lords and their exploits gradually bogs down in

repetition and narrative inertia.

Israeli photographer and filmmaker Schwarz contrasts the drug

trafficking conflicts in Mexico with the musicians who exploit the

violence to create popular music in the traditional corrido narrative

song style, which features a polka- or waltz-like rhythm on guitar,

often accompanied by accordion. The film contextualizes this

highly popular musical genre by profiling crime scene investigator

Richi Soto, who works for the law enforcement authority of Juarez,

the border city that reportedly has the world’s highest murder rate,

principally due to drug violence.

On a daily basis, Soto examines crime scenes, collecting evidence

on killings that rarely is pursued by judicial authorities after

processing at the Juarez crime lab. Several of Soto’s colleagues

have been assassinated over the past few years, and he has to be

day5_rev_spread3A.indd 1 2/10/13 5:20 PM


Of course, things are not so

simple, starting with the fact

that Weichung clearly has a

past that’s far less straight than

the bifocals he meticulously

prepares in his shop. He crosses

paths at his sister’s rehearsal

dinner with a flamboyant a wedding

photographer (Lawrence

Ko, hilarious) who, despite the

fact that he’s also married, is

leading a double-life as a gay

party boy, and advises Weichung

to do the same. When a

handsome young flight attendant

(Wong Ka Lok) ventures

into the man’s store, it’s love

at first sight, and although the

stoic husband and dad tries to

fight off his homoerotic urges,

he can only hold out for so long.

Meanwhile, Mandy starts

having second thoughts about

her upcoming marriage, and

they come to a head in a funny

flashback that shows her

freaking out during an all-too

routine shopping trip to Carrefour.

She decides to ditch San-

San and lock herself indoors,

binging on instant ramen and

cheesy soap operas until she

can figure out whether she’s

really in love at all.

Directing with an easygoing,

occasionally swoony style, Chen

cuts back and forth between the

various characters as they deal

with their quashed desires and

emotional predicaments, with

the main plot-point pivoting

on whether Weichung’s wife

Feng, who is hoping to have a

second child, will learn about

her husband’s hidden sexual

identity. The Mandy-San-San

debacle is, on the other hand, a

bit too cursory, and seems to be

there mainly for comic relief and

as a narrative framing device.

Indeed, more than anyone

else, Feng seems to be the center

of attention here, and the

film inevitably wonders what

she’ll do about the truth once

she uncovers it. In other words,

how can a society steeped in

marital traditions deal with

shifting cultural attitudes

toward homosexuality? If

Chen’s ultimate answer may

seem like a copout to some, it’s

perhaps less important than

the fact that he’s raising the

question at all, especially in

this kind of carefree, commercially-minded

movie.

Filled with colorful street

scenes and candy-tinged interiors

(courtesy of D.P. Hsia Shao-

Yu, Return Ticket), Tomorrow

reveals a Taipei that has rarely

looked so jolly on screen, and

the film coasts along to its final

conflict at a fairly brisk pace,

even if there are a few longueurs

along the way.

Panorama Special

Production companies

1 Production Film

Cast Richie Jen, Mavis Fan,

Stone, Kimi Hsia, Lawrence Ko

Director, screenwriter

Arvin Chen

Producer Yating Chang

Sales Agent Media Asia Film

Distribution

extremely cautious about his movements and protecting his family

to avoid the same fate.

The doc also focuses on Los Angeles narco corrido singer-songwriter

Edgar Quintero, who makes a living writing the violent lyrics

that celebrate the criminality of Mexican drug gangs and selling

the songs to a variety of musicians as well as performing them with

his band Buknas de Culiacan.

The film consists almost entirely of footage that Schwarz shoots

himself on a Canon 5D with a photojournalist’s eye for the big

picture surrounding the drug wars, as well as the telling details

elicited from more intimate scenes with Soto, Quintero and their

families. Capably assembled by editors Bryan Chang and Jay

Arthur Sterrenberg, the film runs at least 10 minutes too long and

could be trimmed even further to improve pacing by eliminating

duplicative scenes.

Panorama

Originally reviewed at the Sundance Film Festival

Production company Parts & Labor

Director Shaul Schwarz

Sales K5 International

17

Brothers David

and Eitan Cunio

are a striking

screen duo.

Youth

Reviews

An amateur kidnapping plotted by

two teenage brothers goes wrong in Tom Shoval’s

quirky first feature By Deborah Young

Youth is a fetching addition to the israeli

panorama, an offbeat but not completely downbeat dramedy

and coming-of-age tale that incidentally portrays the

suburban class struggle and decline of the country’s middle class.

Young film writer and shorts director Tom Shoval knows that

character rules in a low-budgeter and draws noteworthy perfs out

of his non-pro leads, two brothers whose goofy plan to save their

family from ruin by kidnapping a rich schoolgirl inevitably runs

afoul. Though not as unique a standout as Rama Burstein’s Fill

the Void, it similarly locates drama in everyday life.

So close is the fraternal bond that not only do teenage Shaul

(Eitan Cunio) and his brother Yaki (David Cunio) look a lot

like each other; they seem to know what the other is thinking.

Their sweet, sociable father is unemployed and the family is

going through hard economic times, which threaten to cost

them their apartment in a satellite town outside Tel Aviv. But

when Yaki enlists in the army, he comes home with a rifle that

changes everything.

Feeling empowered, the boys plot a rudimentary kidnapping.

First Shaul stalks the willowy Dafna (Gita Amely) on her way

home from school, then he and Yaki abduct her in an alley and,

being without a car, absurdly take her home on a bus. She doesn’t

start screaming and kicking until they dump her in an empty

shelter in the basement of their apartment building. The problem

is that it’s the Sabbath, and her Orthodox family, used to her

absences, won’t pick up the phone with their ransom demands.

This could have been played as pure comedy, but writerdirector

Shoval chooses an interesting middle path that allows

the tension to rise. Everything depends on the unpredictable

reactions of the two brothers, whose staring blue eyes have an

emptiness that threatens to turn to violence. And the ever-present

rifle seems ready to go off any minute.

Dominating every scene, the Cunio brothers are unsettling figures

with cinematic faces who could have posed for Diane Arbus.

Shoval allows them a seemingly unmediated relationship with the

camera that is quite eerie. Top Israeli actor Moshe Ivgy brings a

wistful quality to their depressed father, touching in his helplessness

to stop the family’s decline from middle class respectability.

Cinematographer Yaron Scharf divides the space between

the family’s suffocating but warm apartment and the cold

concrete emptiness of the shelter where the girl is being held –

both claustrophobic alternatives in the boys’ option-less world.

Panorama Special

Cast Eitan Cunio, David Cunio, Moshe Ivgy, Gita Amely

Director Tom Shoval

Screenwriter Tom Shoval

Producers Gal Greenspan, Roi Kurland, Moshe Edery,

Leon Edery

Co-producers Sol Bondy, Jamila Wenske

Sales Agent The Match Factory

day5_rev_spread3A.indd 2 2/10/13 5:20 PM


market screening guide

Today

8:30 Jappeloup, CineStar 1

Pathé International, France;

Path Of Souls, CineStar

Event, High Definition Pictures

Inc., Canada

9:00 Lunarcy!, MGB-Kino,

Global Screen GmbH, Canada;

Hold Fast, CineStar 4,

Entertainment One Films

International, Canada; Free

Angela And All Political

Prisoners, CinemaxX Studio

11, Elle Driver, USA/France;

Little Cookie, CineStar 5,

TF1 International, France;

Once I Entered A Garden,

CinemaxX Studio 19, Doc

& Film International,

France/Israel; Kiss Of The

Damned, CinemaxX Studio

17, Magnolia Pictures, USA;

Offline, CinemaxX Studio

15, Lumière Publishing

nv, Belgium; Hold Up!,

CinemaxX 8, Latido Films,

Spain; The Girl And Death,

Kino Arsenal 1, FCCE

Film Sales, Netherlands;

A Glimpse Inside The

Mind Of Charles Swan

III, CinemaxX 9, Independent,

USA; The Motel Life,

CinemaxX 4, Independent,

USA; Exposed, CinemaxX

Studio 18, USA

9:15 All Of Us Guinea-Pigs

Now?, CinemaxX Studio

16, Wide, France; The Fifth

Season Of The Year, Marriott

3, WFDiF (Documentary

& Feature Film, Poland/

Switzerland; The Whirlpool,

dffb-Kino, Film Center

Serbia, Serbia; Welcome

to Argentina, CinemaxX 1,

Kinology, France; Houston,

CineStar 7, HanWay Films,

Germany/USA

9:20 A Song For Mama,

CinemaxX 2, SND Groupe

M6, France; Shirley

- Visions of Reality,

CinemaxX Studio 13, KGP

Kranzelbinder Gabriele

Production, Austria

9:30 Still, CineStar 6,

Cinema Management

Group, Canada; Der Bernd,

CinemaxX Studio 14, Beta

Cinema GmbH, Germany;

Bounty Killer, CinemaxX 5,

Content, USA; An End To

Killing, CineStar 2, Fortissimo

Films, China; The Dead

Man And Being Happy,

CinemaxX Studio 12, Urban

Distribution, Spain/Argentina/France;

Smash And

Grab: The Story Of The Pink

Panthers, Marriott 1, Goldcrest

Films International,

UK; Gold, CinemaxX 10,

The Match Factory GmbH,

Germany; Not Another

Celebrity Movie, Marriott

2, Entertainment 7, USA/UK;

Rodencia And The Tooth Of

The Princess, CinemaxX 3,

Filmsharks International,

Argentina/Peru; The Meteor,

CinemaxX 6, FunFilm Distribution,

Canada

9:45 The Lifeguard, Cubix

2, Joker Films Inc., USA

10:00 Rolli And The Golden

Key, Cubix 4, MRP Matila

Röhr Productions, Finland

10:20 Middleton, CinemaxX

Studio 18, Film Bridge International,

USA

10:30 Cheba, MGB-Kino,

Elle Driver, France

10:45 What Maisie Knew,

CineStar Event, Fortissimo

Films, USA; In The Shadow

Of The Sun, CinemaxX Studio

19, Dogwoof, UK; Here

Comes The Devil, CinemaxX

Studio 17, MPI Media Group,

Mexico; 100 Bloody Acres,

CineStar 1, The Works, Australia;

Gloria, CinemaxX 9,

Funny Balloons, Chile/Spain

10:50 The Grandmaster,

CinemaxX 4, Wild Bunch,

Hong Kong; When I Saw

You, Kino Arsenal 2, The

Match Factory GmbH,

Palestinian Territories/

Jordan/United Arab Emirates/Greece;

Scar Tissue,

Marriott 1, The Little Film

Company, UK

11:00 My Awkward Sexual

Adventure, CinemaxX Studio

11, Archstone Distribution,

Canada; The Pervert’s

Guide To Ideology, Marriott

3, Doc & Film International,

Ireland/UK; Pulce Is Not

Here, CinemaxX 8, Adriana

Chiesa Enterprises SRL,

Italy; PARADISE: Hope,

CinemaxX 2, Coproduction

Office, Austria/France/Germany;

The Pearl, CinemaxX

Studio 15, Farabi Cinema

Foundation, Iran; Tom the

truant, CinemaxX Studio 13,

Reel Suspects, France

11:05 Goodbye Morocco,

CinemaxX Studio 12,

Les Films du Losange,

France/Belgium; Two

Lives, CinemaxX Studio

14, Beta Cinema GmbH,

Germany/Norway

11:15 Games Of Clouds And

Rain, dffb-Kino, Rezo Films,

France; The Second Meeting,

Marriott 2, Film Center

Serbia, Serbia; Computer

Chess, CinemaxX 6, USA

11:20 Super Nothing, CinemaxX

Studio 16, Confeitaria

de Cinema, Brazil/Bolivia

11:30 5 Years, CineStar

6, Global Screen GmbH,

Germany; The Spectacular

Now, Cubix 1, The Exchange,

USA; Berg Fidel - A

School for All, CinemaxX

1, dffb, Germany; Detroit

Unleaded, Cubix 4, Gas

Afterhours, LLC, USA; Winterthur

City Composes An

Opera, Parliament, Syquali

Crossmedia AG, Switzerland;

S-VHS, CinemaxX 10,

Memento Films International,

USA; Upstream

Color, Cuubix 2, Visit Films,

USA; Honour, Cuubix 5, 108

Media Corp, UK

12:30 Man Who Shook The

Hand Of Vicente Fernandez,

CinemaxX Studio 19,

Arclight Films, USA; Inescapable,

CinemaxX Studio

17, Myriad Pictures, USA; The

Zigzag Kid, CinemaxX Studio

15, Attraction Distribution,

Netherlands/Belgium; Bula

Quo, Kino Arsenal 2, Status

Quo Films, UK; Day Of The

Flowers, CineStar Event,

Imagina International Sales,

UK; Frances Ha, CineStar 4,

Celluloid Dreams, USA

12:35 Five Square Meters,

Parliament, Alimpro Films

S.L, Spain

12:40 Si-o-se Pol, Marriott 1,

Five Seven Films, Germany;

Judge Archer, CinemaxX

9, Golden Network Asia

Limited, China; The Domino

Effect, CinemaxX 2, ARRI

Worldsales Arri Film & TV

Services, Netherlands

12:45 Paulette, CineStar 5,

Gaumont, France; The Gatekeepers,

CinemaxX Studio

13, Cinephil, France/Israel

12:50 Mushrooming,

CinemaxX Studio 12, Allfilm,

Estonia

12:55 Apple Stories, Marriott

2, Moonlightmovies,

Germany

13:00 Lullaby Ride, CinemaxX

Studio 11, T&C Edition

AG, Switzerland/Germany;

The Deep, CinemaxX Studio

14, Bac Films, Iceland/

Norway; I Give It A Year,

dffb-Kino, StudioCanal,

UK; Saving General Yang,

CinemaxX 4, Pegasus Motion

Pictures, China

13:05 Colors, CinemaxX Studio

16, alpha violet, Brazil

13:10 The Spirit of ‘45, CineStar

1, Wild Bunch, UK

13:20 The Between, Marriott

3, The Little Film Company,

Italy/USA

13:30 Maïna, CineStar 6,

Entertainment One Films

18

International, Canada; Shifting

the Blame, CinemaxX 1,

FFL Film- und Fernseh-Labor

Ludwigsburg, Germany;

Char... the No Man’s

Island, CinemaxX 6, India/

Japan/Italy/Denmark/Norway;

Citizen Koch, Cubix 2,

Bayside Productions, USA

14:00 Love is in the Air,

CineStar 4, Kinology, France

14:05 Snails in the Rain

Kino Arsenal 2, Wide, Israel;

The Children’s Republic,

Kino Arsenal 2, Wide/Wide

House, France/Portugal

14:10 The Noble Family,

CinemaxX Studio 15, Filmsharks

International, Mexico

14:15 Ship Of Theseus,

MGB-Kino, Fortissimo Films,

India; Village At The End

Of The World, CinemaxX

Studio 19, Dogwoof, UK/

Denmark; Cold War, Marriott

1, Edko Films Ltd., China;

Ukrainian Films 2012-2013,

Parliament Ukrainian State

Film Agency, Ukraine

14:30 We Will Riot, CinemaxX

Studio 12, VsI Naratyvas,

Lithuania; Michel,

CinemaxX 2, SND Groupe

M6, France; The Girl From

The Wardrobe, Marriott

2, WFDiF (Documentary &

Feature Film), Poland; Your

Beauty Is Worth Nothing,

CinemaxX Studio 13, Dor

Film Produktion Ges.m.b.H.,

Austria/Turkey

14:45 The Legend Of

Sarila, CineStar 5, Cinema

Management Group,

Canada; Crestfallen,dffb-

Kino,The Yellow Affair, Sweden;

Silent Ones, CinemaxX

Studio 16, Wide, Netherlands;

Writers, CinemaxX

Studio 14, The Solution

Entertainment Group, USA

15:00 The Brats, CineStar 1,

Gaumont, France

15:05 Mega Spider,

CinemaxX 4, Epic Pictures

Group, Inc., USA

15:10 The Troubled Man,

Marriott 3, Zodiak Rights,

Sweden

15:15 Hand In Hand,

CineStar 2, Wild Bunch,

France; Shoot Me, Fuck

You, Cut!, Cubix 4, PAL-

LADIO Film GmbH & Co KG,

Germany; Bugs, Cubix 1,

Rossfilm, Russia

15:20 Summun Bonum, Parliament,

Cavazos Films, USA

15:30 You Can’t Take the

Church out of the Village

CinemaxX 1, Germany;

Mobius, CinemaxX 10,

EuropaCorp., France; To

the Wolf, CinemaxX 6,

Greece/France; A Teacher,

Cubix 2, Visit Films, USA; My

Beautiful Country, CineStar

6, Global Screen GmbH,

Germany/Croatia; Fatal

Assistance, Cubix 3, Doc &

Film Internationa, France/

Haiti/USA/Belgium

15:45 Cold Blooded,

CinemaxX Studio 19, Double

Dutch International, USA

15:50 Zabana!, CinemaxX

Studio 17, Wide, Algeria

16:00 Clara and the Secret

of the Bears CinemaxX

Studio 13, Attraction

International Distribution,

Switzerland/Germany; The

Interval, CinemaxX Studio

15, Rai Trade, Italy/Switzerland;

Bright Days Ahead,

CinemaxX Studio 12, Le

Pacte, France

day5_screening.indd 1 2/10/13 3:21 PM


16:05 Alias Ruby Blade,

Marriott 1, MercuryMedia

International Ltd., USA;

Pirate TV, CineStar 4, TF1

International, France

16:10 Walter, Marriott 2,

Film Center Serbia, Serbia

16:15 Lost In Thailand, CinemaxX

2, Golden Network

Asia Limited, China

16:20 Greetings From Tim

Buckley, CineStar 5, Celluloid

Dreams, USA

16:30 Six Acts, CinemaxX

Studio 11, Films Distribution,

Israe; Christmas.Uncensored,

dffb-Kino, Krukfilms,

Latvia; Lasting, CinemaxX

Studio 16, AP Manana,

Poland/Spain

16:40 Carmina Or Blow Up,

CinemaxX Studio 14, Cinema

Republic, Spain; Platinum

Data, CinemaxX 4, Toho Co.,

Ltd., Japan

16:45 White Frog, CineStar

2, Fortissimo Films, USA;

Minuscule - Valley Of The

Lost Ants - Promo Reel,

CineStar 1, Futurikon, France

17:00 Camp 14 - Total Control

Zone, MGB-Kino, Global

Screen GmbH, German; Better

Living Through Chemistry,

Marriott 3, Ealing Metro

International, USA

17:10 Mars & Avril, CineStar

6, Filmoption International,

Canada

17:15 Parade, Cubix 1, Films

Distribution, France/USA

17:20 Blood Pressure

CinemaxX Studio 19, alpha

violet, Canada

17:30 Guardians, CinemaxX

Scott McGehee and

David Siegel’s What

Maizie Knew stars

Julianne Moore,

Alexander Skarsgard

and Steve Coogan in

a drama about the

custody battle for a

seven-year-old.

1, Action Image Gmbh, Germany;

Gentlemen Of Fortune,

Marriott 2, Bazelevs,

Russia; Sonja And The Bull,

Marriott 1, Croatian Audiovisual

Centre, Croatia; Dark

Matter, CinemaxX 6, Italy

17:35 Sagrada - The Mystery

Of Creation, CinemaxX

Studio 15, Atrix Films GmbH,

Switzerland

17:45 No Place Like Home,

CinemaxX Studio 13, Fandango,

Italy

17:50 Betrayal, CineStar 1,

Elle Driver, Russia; Pussy

Riot - A Punk Prayer, CinemaxX

Studio 17, Goldcrest

Films International, UK

18:00 Gone Fishing CineStar

4, Celluloid Dreams,

Argentina; John Dies At The

End, CinemaxX Studio 12,

Magnolia Pictures, USA; Forbidden

Ground, dffb-Kino,

Odin’s Eye Entertainment

Pty. Ltd., Australia

18:05 The Ridge, CinemaxX

Studio 16, Dogwoof, Spain

18:10 The Inevitable Defeat

Of Mister & Pete, CinemaxX

Studio 18, Aldamisa International,

LLC USA

18:15 The Guillotines,

CineStar 5, We Distribution

Limited, Hong Kong,

China; Habi, the Foreigner,

CinemaxX 2, MPM Film,

Argentina/Brazil

18:30 Pieces Of Me, CinemaxX

Studio 11, Silenzio

Films, France; Hellbenders,

CineStar 2, The

Exchange,USA

18:45 The Jungle CinemaxX

10, Lightning Entertainment,

Australia; Two Mothers,

Marriott 3, m-appeal,

Germany

19:10 Mesnak, CinemaxX

Studio 15, Films 2.0, Canada;

Let Me Survive, CinemaxX

Studio 19, Filmsharks

International, Belgium/

Luxembourg

19:15 Brief Reunion, Marriott

2, Striped Entertainment,

USA

19:30 Yuma, CinemaxX

Studio 16, Yeti Films Sp. z o.

o., Poland/Czech Republic;

Echolot, CinemaxX 6,

Germany

20:00 Out in East Berlin

- Lesbians and Gays

in the GDR, dffb-Kino,

Galeria Alaska Productions,

Germany

20:15 Foxfire: Confessions

Of A Girl Gang, CineStar 2,

Memento Films International

France/Canada

21:30 Yumen, CinemaxX 6,

USA/China

Tomorrow

9:00 Allez, Eddy!, MGB-

Kino, Global Screen GmbH

Belgium/Luxembourg/

Netherlands; The Dead

And The Living, CineStar 1,

Films Distribution, Austria;

Here And There, CinemaxX

Studio 19, alpha violet,

Spain/USA; Escape From

Tomorrow, CinemaxX 8,

Cinetic Media Inc., USA;

Shanghai Gipsy, CinemaxX

Studio 15, Slovenian

Film Centre, Slovenia;

Picasso’s Gang, Kino Arsenal

2, Imagina International

Sales, Spain; Goltzius And

The Pelican Company,

CinemaxX 1, Bankside Films

Netherlands/UK; Bellicher

Cell, Kino Arsenal 1, FCCE

Film Sales, Netherlands;

Streetdance All Stars,

CineStar Event, Protagonist

Pictures, UK/Germany

9:15 Camion CinemaxX

Studio 11, Coop Vidéo de

Montréal, Canada; The

Shine Of Day, CinemaxX

Studio 17, Austrian Film

Commission, Austria; A

World Not Ours, CinemaxX

Studio 13, MPM Film,

Lebanon/UK/Denmark

9:30 The Passion of

Michelangelo,CinemaxX

Studio 14, Films Boutique,

Chile/France/Argentina;

Irina, CinemaxX Studio

16, Silenzio Films, France;

Beijing Flickers, CineStar

2, Fortissimo Films,

China; The Cutoff Man,

CinemaxX Studio 12, Urban

19

Distribution, Israel; The

Snow Queen, CineStar 7,

Wizart Animation, Russia;

Dr. Qassimlu Street, Marriott

1, Striped Entertainment,

USA; Felix, Net & Nika And

Theoretically Possible

Catastrophe, Marriott

2, WFDiF (Documentary

& Feature Film, Poland;

Father’s Garden - The Love

of My Parents,CinemaxX 6,

Switzerland; Child’s Pose,

CinemaxX 10, Beta Cinema

GmbH, Romania; State

194, CinemaxX Studio 18,

Cinephil, USA/Israel; Flower

Square, dffb-Kino, Croatian

Audiovisual Centre, Croatia;

The Cloth, CinemaxX 3, VMI

Worldwide, USA

10:35 The Best Offer, CinemaxX

4, uConnect, Italy

10:40 Pasolini’s Last

Words, Kino Arsenal

1, polyvinyl films, USA;

Craigslist Joe, Marriott 3,

Vesuvio International, USA

10:45 Rhino Season, CineStar

5, Wild Bunch, Iran

10:50 A Special Day, Kino

Arsenal 2, Rai Trade, Italy;

8-Ball, CinemaxX Studio

12, Blind Spot Pictures Oy,

Finland

10:55 The Tower - Tales

From A Vanished Land,

CinemaxX Studio 11, Beta

Cinema GmbH, Germany

11:00 No Place On Earth,

MGB-Kino, Global Screen

GmbH, USA/UK/Germany;

The Comedian, CineStar 6,

Celluloid Dreams, France;

Mesnak, CinemaxX Studio

19, Films 2.0, Canada;

Roraima - Climbers Of

The Lost World, CineStar

Event, Red Bull Media House

GmbH, Austria; A Place

At The Table, CinemaxX

Studio 17, Cinephil, USA; For

Marx..., CinemaxX Studio

13, Reflexion Films, Russia

11:10 The Foster Child,

CinemaxX Studio 15, Farabi

Cinema Foundation, Iran

11:15 The Good Lie, CinemaxX

Studio 14, Filmoption

International, Canada;

Simon Killer, CineStar

2, Fortissimo Films, USA;

Together, CinemaxX 6,

Serenity Entertainment

International, Taiwan, China

11:20 Eden, CinemaxX Studio

16, alpha violet, Japan;

Honour, Marriott 2, 108

Media Corp., UK

11:30 Lore, CinemaxX 1,

Memento Films International,

UK/Australia/

Germany, Yuma, dffb-Kino,

Yeti Films Sp. z o. o., Poland/

Czech Republic; Layla Fourie,

CinemaxX 10, The Match

Factory GmbH, Germany/

South Africa/France/Netherlands;

The Last Elvis, CinemaxX

Studio 18, Filmsharks

International, Argentina

12:20 Sue, Mai & Sawa:

Righting the Girl Ship,

Marriott 3, Mode Films Inc.,

Japan

12:25 The Movie, Kino

Arsenal 2, BSK YAPIM

REKLAM PRODÜKSIYON

HIZ., Turkey

12:30 Glorious Deserter,

CinemaxX Studio 17, Pimp the

Pony Productions, Austria

12:45 Scatter My Ashes

At Bergdorf’s, CinemaxX

Studio 12, Fortissimo Films,

USA; 009 Re:Cyborg,

CineStar Event, Production

I.G, Japan; The Meteor,

CinemaxX Studio 13, Fun-

Film Distribution, Canada;

Max Beckmann, Marriott

1, Prounen Film, Germany

12:50 Hellgate, CinemaxX

Studio 19, Arclight Films,

USA; Under The Rainbow,

CineStar 4, Memento Films

International, France;

Taped, CinemaxX 9, Odin’s

Eye Entertainment Pty.

Ltd., Netherlands

13:00 Max CinemaxX 4, Elle

Driver, France; The Rambler,

MGB-Kino, Celluloid Nightmares,

USA; Mad Ship, CinemaxX

Studio 11, MonteCristo

International Entertainment,

Canada; Shell, CinemaxX

Studio 14, Bac Films, UK; The

Wee Man, CinemaxX Studio

15, Genesis Film Sales, UK

13:05 Joy, CinemaxX Studio

16, Rendez-Vous Pictures,

Greece

13:10 The Gospel Of Us, CinemaxX

Studio 18, EastWest

Filmdistribution GmbH, UK

13:15 Tied, CineStar 2, Wild

Bunch, France/Luxembourg

13:30 Closed Season,

CinemaxX 1, Atlas International

Film GmbH, Germany/Israel;

Intersections,

CinemaxX 2, EuropaCorp.

France; Fifi Howls from

Happniness, dffb-Kino,

Urban Distribution, USA

13:45 The Battle of

Tabatô,CinemaxX 6,

Papaveronoir Filmes Unip

Lda., Guinea-Bissau/

Portugal; Wolfsburgo,

Marriott 1, Mediapool &

More A-M M, Germany thr

day5_screening.indd 2 2/10/13 3:21 PM


erlin memories

1993

Lee, right, with co-winner Xie, accepts his first Berlin Golden

Bear, for The Wedding Banquet. He would have the award to

himself two years later when his adaptation of Jane Austen’s

Sense and Sensibility landed the top prize.

Ang Lee’s The Wedding Banquet outshines

some high-profile Hollywood competition

Taiwanese-american filmmaker ang lee,

THen 39, had a lot to celebrate with 1993’s

The Wedding Banquet. Before receiving foreign-language

film Golden Globe and Oscar nominations,

it won the Golden Bear at the 43rd Berlinale, an

honor it shared with Chinese director Xie Fei’s Sesame Oil Maker.

Although it was just Lee’s second film, Banquet beat out two

highly touted Hollywood biopics in competition that year:

Spike Lee’s Malcolm X and Danny DeVito’s Hoffa. — KATIE FAUSKEE

20

day5_endpg_lee.inddA -- EP.indd 1 2/10/13 4:11 PM

Photo by Patrick PiEL/Gamma-raPho via GEtty imaGEs


C

M

Y

CM

MY

CY

MY

K

CDB13_AF AD APOIO DISTRIBUIÇÃO HR 11fev.pdf 1 2/4/13 9:25 PM

Cinema do Brasil 1 D5 021113.indd 1 2/9/13 2:58 PM


Compelling true story of a man who

faces jail time when he sets out to

build a new home.

Mon Feb. 11th - 9:30AM

Cinestar 6

Two brothers living on the wrong

side of the law mastermind

a casino heist.

Tues Feb. 12th - 9:30AM

Cinestar 6

COME SEE US - MARRIOTT HOTEL - SUITE 224

EDWARD NOELTNER

PRESIDENT: +1.310.402.7110

presents at

FINAL SCREENING

TODAY!

Mon Feb. 11th - 2:45PM

Cinestar 5

Three courageous young hunters journey to

the top of the world to discover a land that

will save their clan... a land called SARILA.

DENÉ ANDERBERG

VP SALES: +1.541.890.4701

DANIEL BORT

SALES EXEC: +1.323.301.2792

CMG D5 021113.indd 1 2/1/13 3:42 PM

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