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OctoberNewsletterModel Laboratory SchoolHigh School GuidanceCounselor:Jamie WorleyJamie.worley@eku.eduSr. Office Associate:Tequila GreenTequila.green@eku.eduAddress:521 Lancaster Ave.Richmond, KY 40475859-622-1037 Office859-622-6239 FaxWebsite:www.model.eku.eduLike us on Facebook:https://www.facebook.com/modellabInfinite Campus – Parent PortalIf you had a username and password from last year, it will remainthe same for this year as well. If you have forgotten your username or password, please contact the Guidance Office and wehave to request that information from the Madison Co. Board ofEducation. If you do not have access and would like to obtain it,please contact the Guidance Office by calling 859-622-1037 oremailing Mrs. Green @ tequila.green@eku.edu.Has anything changed?Also, if you have moved, changed phone numbers or need toupdate your email information, please request a “change ofaddress” form from the Guidance Office.Parents/StudentsAny Senior that is planning on applying to a military academyneeds to see Mrs. Worley for an application to get arecommendation from Congressman Ben Chandler.Deadline: October 15, 2012Volunteer Services AvailableCardinal Hill Teen Board – Juniors and Seniors – Opportunityto become more involved with rehabilitation hospital, clientswith disabilities and services available to the community.www.cardinalhill.org/community-groups or contactJoAnne Burris at 859-254-5701 ext 5350 orjbb1@cardinalhill.org


day5_p2,27_n2 b 2/8/09 8:13 PM Page 1PEACE PHOTO: MICHAEL KAPPELER/AFP/GETTY IMAGES; WATERS PHOTO: CHARLIE MASTERSnewsMonday,Pols, rockers flash Peace signBy Stuart KempOld school politiciansand rock ‘n’ roll dominateda heavyweightgathering here inBerlin to mark Monday’scharity gala event CinemaFor Peace.Former Russian presidentMikhail Gorbachev will dish outthe charity event’s inauguralInternational Green FilmAward, aimed at celebratingachievement in filmmaking onthe issues of environmental andclimate protection issues.Leonardo DiCaprio is expectedin Berlin today to accept theprize for his efforts and backingin producing “The 11th Hour”from Gorbachev himself.Gorbachev kept the pressentertained Sunday by detailingthe story of when he first metU.S. President Ronald Reagan atthe height of the cold war in‘Done’ deal: Pena,Dourif, Cobbs joinHerzog thrillerBy Borys KitMichael Pena,Brad Dourif andBill Cobbs havejoined the cast ofWerner Herzogand DavidLynch’s psychologicalthriller Pena“My Son, MySon, What Have Ye Done.”The trio join Michael Shannon,Willem Dafoe and ChloeSevigny in the film, which Herzogis directing. Eric Bassett(“Inland Empire”) is producingwhile David Lynch serves asexecutive producer.continued on page 27Former Pink Floyd member Roger Waters, left, joined former Soviet leader MikhailGorbachev in raising awareness for this evening’s Cinema for Peace charity gala.1985. He said the first time hemet him he called him a capitalistdinosaur while Reaganreferred to him as a communistrelic. “I had to tell him on thesecond meeting not to treat melike an subordinate,” GorbachevFood, film twin lovesfor jurist-chef WatersBy Charles Masterssaid. “I told him to either speakto me as an equal or we shouldforget about meeting further."He said the context was thatthe two most powerful countriesin the world accounted forcontinued on page 27Berlinale competition juror Alice WatersWhat is the recipe for a balancedfilm festival jury? Berlinalechief Dieter Kosslick thisyear decided American restaurateurand food writer AliceWaters would spice up the mixalongside the usual blend offilmmakers, actors and writers.So what does Waters, whowas once married to Frenchfilmmaker Jean-Pierre Gorin,bring to the table?“Would that I could bringmore to the table,” said Waters,who made her name with ChezPanisse, the original “Californiacuisine” restaurant inBerkeley. “I don’t think thatthey have great expectations ofme in terms of technically analyzingthese films. But I havebeen watching films my wholelife. I watch a film every nightto sort of decompress from thecontinued on page 27THR.com/berlinFebruary 9, 2009Berlin Daily EditionThe Hollywood ReporterAm Festungsgraben 110117 Berlin, Germany030 8145 6074030 8145 6086Eric MikaPublisherElizabeth GuiderEditorDavid MorganDeputy EditorDeeann J. HoffDirector — ArtEDITORIALChad Williams (International News Editor),Stuart Kemp (UK bureau chief), ScottRoxborough (Germany bureau chief), CharlesMasters (France correspondent), Borys Kit(reporter) Kevin Cassidy (InternationalFeatures Editor)REVIEWSKirk Honeycutt (Chief Film Critic),Ray Bennett (UK Critic), Deborah Young (FilmCritic) Peter Burnett (Film Critic) Neil Young(Film Critic)CORRESPONDENTSPip Bulbeck (Australia), Leo Cendrowicz(Belgium), Rebecca Leffler (France),Nyay Bhushan (India), Eric J. Lyman (Italy),Gavin Blair (Japan), John Hecht (Mexico),Ab Zagt (Netherlands), Janine Stein(Singapore), Pamela Rolfe (Spain),Joel Gershon (Thailand), Jolanta Chudy(United Arab Emirates)ARTJackie Vuong (Senior Designer)ADVERTISINGTommaso Campione (InternationalExecutive Director), Alison Smith(International Sales Director),Andrew Goldstein (Director IndependentFIlm), Ivy Lam (Hong Kong sales)OPERATIONS + ITNina Pragasam (International MarketingManager), Gregg Edwards (Senior ProductionManager), Armen Sarkisian (NetworkAdministrator)THR.COMAndrew Wallenstein(Editor-Online),Karen Nicoletti (Senior News Editor)A special thanks to our friends atmediapeers www.mediapeers.comDMP Digital- und Offsetdruck GmbHZerpenschleuser Ring 3013439 Berlin, GermanyTel. +49 030 53 008-0Fax +49 030 53 008-201Gerry ByrneSenior Vice President,The Entertainment GroupLos Angeles 323.525.2000 | New York 646.654.5000 | London +44.207.420.6139 | Beijing +86.139.1118.1756 | THR.com/berlin | day 52


feature based on the idea ofthe EMMY® Award 2007winning tv series:THE MAGIC TREEEFM SCREENINGTODAY, 19.15, CINEMAXX 17FAMILY MOVIE90 minutes / 35mmTelewizjaPolska_D5_02_09_09.indd 11/30/09 3:01:02 PM


day5_p1,28_n1 c 2/8/09 8:49 PM Page 2The Hollywood Reporter | Monday, February 9, 2009| newsGearing up for aRichter experienceBy Tommaso Tocci“Directorstend to freakout in frontof anorchestra,where eventhe silence is very loud.”— Max RichterThe post-industrial complexof Bülowstrasse is a placeof creation: over the lastcentury they’ve hosted thepeculiar printing factory thatgave Berlin its first telephonedirectory. Today, it’s the headquartersof various media companies,among which the bulk ofthe Volkswagen Score Competition,part of the Berlinale TalentCampus, takes place.Now in its sixth year, the eventoffers young music artists fromall over the world the chance toexperience the professional journeyof a film composer, startingwith mixing sessions at the Universityof Film & Television,going through postproductionadjustments and finally recordingwith the German FilmOrchestra Babelsberg. The finalwinner also will travel to LosBAFTAcontinued from page 1formance as a washed up grapplerin “The Wrestler.”The Brits demanded a lessgushing acceptance from KateWinslet for her performance asa former Nazi guard in “TheReader,” which secured her abest actress award.Perhaps the least surprisingdecision of the evening sawHeath Ledger's turn as the jokerin "The Dark Knight" took homea posthumous best supportingactor nod.The Original ScreenplayBAFTA was presented to MartinMcDonagh for "In Bruges" withAngeles for a tour of the Dolbysound studios.The choice is already down tothree Campus participants, whoare working on the very materialthey submitted as a sample.Within the the Waveline office, inBülowstrasse, Moritz Schmittat(Germany), Vinicius Calvitti(Brazil) and Atanas Valkov (Bulgaria)are frantically staring atmonitors and mixers while theirpersonal technicians help themtrim the two clips - a Volkswagencommercial and a sequence fromthe feature “La Sangre Brota.”Following a tradition of Oscarlevelmentors (Gustavo Santaolallacame around last year), the professionaladvisor of this edition isMax Richter, who scored Oscarnominee“Waltz With Bashir.”Individually meeting with eachof the participants, Richter spentthe morning giving his input ontheir work, and will later have theresponsibility, together with aspecial jury, of deciding who getsthe final prize.Richter immersed himself inthe young artists’ scores, alsoanswering methodologicalquestions (“How much musicdo you write every day?“), sharinguseful tips (“Directors tendto freak out in front of anorchestra, where even thesilence is very loud“) and helpingwith the overall balance ofthe music. ∂Beaufoy taking the AdaptedScreenplay nod. The BAFTA foroutstanding British film thisyear went to documentary "ManOn Wire,"one of two of theevening's awards specificallygiven to British endeavors.In the event’s other exclusivelyBritish category, artist-turneddirectorSteve McQueen tookhome the Carl Foreman awardfor special achievement by aBritish Director, Writer or Producerin their first feature film.Having been nominated in 11categories, David Fincher’s“The Curious Case of BenjaminButton” scored three wins forproduction design, make upand hair and special visualeffects. ∂David KrossNationality: GermanBorn: July 4, 1990Selected filmography:“Same Same ButDifferent” (2009),“The Reader” (2008),“Krabat” (2008), “HandsOff Mississippi” (2007),“Tough Enough” (2006)shooting starsNot yet 20, German actor DavidKross already is being discussedas the next big thing —both at home and, followinghis star turn alongside KateWinslet in Stephen Daldry’s“The Reader,” in Hollywood.He got his first starring role (inDetlef Buck’s “ToughEnough”) because the director’s daughter noticed him at school. He hasjust finished his third film with Buck, “Same Same But Different.”What was your reaction when you were told you would bea Shooting Star?I was in Cambodia when I heard, shooting “Same Same But Different,”and I was speechless. I didn’t expect it at all. Things havebeen so good for me recently. First, with “The Reader” and nowthe Shooting Stars. It’s really amazing.Has appearing in “The Reader” changed your lifeand career?Definitely. In many ways. It’s helped my acting. Ihad to learn so much. It was a long, intense shootover an entire year, with a big break in between. StephenDaldry was really a gift to me. As was working with KateWinslet and Bruno Ganz. Daldry comes from the theater andhe has a very careful way with actors. He took me along on ajourney with him. There was so much I didn’t know about how towork with a camera, knowing where the camera is and so on.“The Reader” was your first English-language role.Were you nervous?Extremely. I was still in high school at the time and I justhad regular school English. I wasn’t that confident aboutbeing able to act in English. But I worked with the dialoguecoach and it helped that we had such a longshoot and that I was speaking English all the timeon the set.I have to ask — the sex scenes with Kate Winslet,what were they like?We did them fairly late — at the very end of the shoot. It was thelast thing we did. That was good in a way because it meant we gotto know each other well. But on the other hand, it meant I wasthinking of those scenes the whole time we were shooting. ButStephen was really helpful. He told me, “Focus on the really difficultacting scenes. A sex scene is more a technical challenge thanan acting challenge.” Kate was great. She was very relaxed on set,using jokes to relax me. And she told me what to do. We had towait until I was 18 to do the scenes. So we had my birthday partyand the next day, right away, I was in bed with Kate Winslet.— Scott RoxboroughLos Angeles 323.525.2000 | New York 646.654.5000 | London +44.207.420.6139 | Beijing +86.139.1118.1756 | THR.com/berlin | day 56


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day5_p6_ade b 2/8/09 3:39 PM Page 1q&aMonday,THR.com/berlinFebruary 9, 2009The high drama of ordinary life is in focus in the films of young Germandirector Maren Ade. Her low-budget debut, “The Forest for the Trees,” winnerof the World Cinema Jury Prize in Sundance, is a heart-wrenching tale of alonely schoolteacher driven to the edge by the casual cruelty of her pupils andcolleagues. Her sophomore feature, “All the Others,” traces the disintegration ofa relationship. Ade spoke to The Hollywood Reporter German bureau chiefScott Roxborough about finding the drama in the everyday.What are your feelings on beingaccepted to the Berlinale?Maren Ade: I am crazy happy andvery surprised that the film willbe in competition. It’s so amazingto have such a success forwhat is just my second film. Youcan never count on somethinglike this — it’s what you dream of.Were you surprised because “Allthe Others” is such a small, lowbudgetfilm?Ade: For me, it’s not a “small”film. It’s only my second and itwas a very elaborate productionin my eyes. I don’t know wherea film stops being small andstarts being big.The plots of your films seemdeceptively simple — what’s thereal story of “All the Others”?Ade: I always find it very hard totell the story. A synopsis is easy:a couple go on vacation andthem meet another couple andthis encounter throws their ownrelationship off the rails. Theystart to compare their relationshipto that of the other couple.It’s I guess about conforming,about life models — what“everyone else” is doing. But Ireally don’t want to describe myown film. That’s for others to do.vital statsMaren AdeNationality: GermanBorn: Dec. 12, 1976Festival Entry: “All the Others”(In Competition)Selected filmography: All theOthers” (2009), “The Forest forthe Trees” (2003)Notable Awards: Sundance FilmFestival special jury prize, NewportFilm Festival jury award andValencia Film Festival GoldenMoon for “The Forest for the Trees”Your debut, “The Forest for theTrees,” was a portrait of a womanon the verge of a nervous breakdown.In “All the Others,” it’s arelationship that’s breaking down.What connects the two films?Ade: I don’t know. I think, I hope,I’ve done something new. That’swhat I was trying to do. Thecharacter in “Forest for theTrees” is a teacher in ruralSwabia. For this film, I saw it as achallenge to try and depict characterswhose lives are closer tomy own. The couple are botharound my age and the man is anarchitect, which is not too far offbeing a director. But I hope bothfilms have a similar subtle humorand a particular exactness.The topics of your films are verycommonplace — loneliness, isolation,depression. What do you findso fascinating (and dramatic)about so-called “ordinary” life?Ade: I think it depends on howyou tell it. Everyday conflicts areas big, powerful and dramatic asany other. These ordinary conflictsinterest me — the thingswe go through every day. Ofcourse, it’s fiction. I’m not interestedin making a documentary.But I am interested in authenticity.I don’t think the conflicts aresmaller. When you concentrateon things very carefully, theseeveryday conflicts can be as dramaticas any thriller.The dialogue in your films seemsvery authentic, almost off-hand.Is this all in the script or as a resultof improvisation with the actors?Ade: On my last film, that’s whata lot of people said, if the scriptwas the result of improvisation.But it’s actually how I write. Ispend a long, long time writingdialogue and then I file it down. Irehearse with the actors andimprovisation alters the scriptsomewhat. But when I was doingthe subtitles for “All the Others,”I was surprised how the dialoguein the final film was virtuallyidentical to the original script.The script for me is the cornerstoneof a film. If you have agood script and a good cast, nottoo much can go wrong.How do you write? Do you startwith the plot, with the characters?Ade: I usually start my filmswith a character. For “Forest,” Ihad the idea of this particularwoman and for “All the Others”it was this very unequal couple.She is very tough, full of life, heis more reflective, melancholic.So I had these two and then Iwaited to see what sort of storywould crystallize out of that.And slowly, the plot emerged. Idecided to put them on vacationbecause I wasn’t interested inwhat their apartment back homelooked like. I was interested inthe relationship and on vacationthe focus is on the relationship.The conflict emerges from thecharacters. Always.You remain very close to youractors — almost claustrophobicallyclose. How do you establishthe trust and intimacy needed towork this way?Ade: That’s actually a major partof the work. It was clear from thestart that this would be anactor’s film. That it would standor fall depending on the actors.So a good half year before westarted principle photography, Irehearsed with the actors and mycamera man in the garden behindmy house. ... When we shoot, allother aspects of the film are subordinateto the acting. We take alot of time, do a lot of takes, tocreate this intimacy.You don’t use any elaborate camerawork or much music on yourfilms. What’s the purpose of thissort of reduction?Ade: I don’t think of it as reduction,I think of it as concentration,intensifying. I feel that asingle gesture or a glance of theeye is stronger if it’s pure, withoutany distractions. Over thefull length of the film, all thesedetails build up and the impact,hopefully, is much greater. ∂For more Q&Awith MarenAde, go to THR.com/Berlin.Los Angeles 323.525.2000 | New York 646.654.5000 | London +44.207.420.6139 | Beijing +86.139.1118.1756 | THR.com/berlin | day 58


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day5_p10_revs c 2/8/09 4:31 PM Page 10reviewsMonday,THR.com/berlinFebruary 9, 2009‘In the Electric Mist’By Peter BrunetteThe venerable Frenchauteur Bertrand Tavernierhas given us in“In the Electric Mist,”a film of many excellentparts, but unfortunatelythey don’t add up to a satisfyingwhole. He’s actually madesomething on the order of threeor four different films here, eachvying for our scattered attention,and each one of which, onits own, probably could havebeen reasonably entertaining.Despite the big-name cast,the commercial prospects ofthis always watchable film neverthelesslook doubtful. Word isthat the film will go straight tovideo in the U.S. with a versionshortened by 15 minutes.Tommy Lee Jones does hisusual wonderful job of playingTommy Lee Jones, that is, acontemplative but alcoholicand violent small-town sheriffwho beats people up when hehas to, between bouts of philosophicalrumination renderedin poetic voiceover.He’s investigating a string ofbrutal murders of young womenin his Louisiana parish whilejousting with a former classmatenamed Julie Balboni(Goodman) who’s returned tothe parish in order to make amovie and do as much drinking,coke-snorting and whoring aspossible. Elrod Sykes (Sarsgaard)also shows up as a drunkenmovie star, along with KellyDrummond (Macdonald) as hisfeckless TV star girlfriend.Like fellow French auteur JeanRenoir before him, Tavernier isobviously fascinated by the look,the sounds, the myths and the> IN COMPETITIONBOTTOM LINE Too manydifferent films contend witheach other in this French-styleSouthern Gothic.PRODUCTION: Ithaca Films, Little BearProds. CAST: Tommy Lee Jones, JohnGoodman, Peter Sarsgaard, MarySteenburgen, Kelly Macdonald, RosieGomez DIRECTOR: Bertrand Tavernier.MORE REVIEWS> SEE PAGE 21people of the American South.This deep affection is by far themost winning aspect of the film,and the most original. In fact, thedialogue spoken by both blacksand Cajun whites is so authentic,that subtitles in simplified Englishhave been appended to theversion that screened in theBerlinale. The blues and otherforms of local music keep thesoundtrack perking as well.Had Tavernier stuck to hisoriginal police procedural,punctuated with a generoushelping of colorful local lore, “Inthe Electric Mist” could havebeen a completely satisfyingentertainment along the lines of“No Country for Old Men.” Alas,he makes the Jones characterjust a little too philosophical(that is, a little too French) tokeep him believable. Whatevershred of credibility he retains isblown to smithereens when hestarts talking to and consortingwith the ghost of a Confederategeneral . Goodman’s character isplayed so over-the-top that heseems like a refugee from an earlierCoen brothers film, givingthe film an ungainly and perhapsunintentional surrealist spin.The unfunny subplot that Sarsgaardis awkwardly involved inseems completely extraneous toeverything else.Worst of all, the film’s tone isall jumbled. We are made to behorrified by all the deaths, whichare recounted in excruciatinglygruesome detail, then we’retreated to a large section of cornponecomedy. At that point, Taverniersuddenlyseems toremember thathe and TommyLee Jones havegot all thesedead girls ontheir hands.“Mammoth”BOTTOM LINE: Theproduction scale may betoo big for such anintimate story.“Gigante”BOTTOM LINE:A shy supermarketobsession staysguardedly low-key.For morereviews and afull list of castand creditsLos Angeles 323.525.2000 | New York 646.654.5000 | London +44.207.420.6139 | Beijing +86.139.1118.1756 | THR.com/berlin | day 510


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day5_Shooting Stars_c 2/7/09 4:10 PM Page 13worldSPECIALREPORT:SHOOTING STARS THR.com/berlinMonday, February 9, 2009Prepare For Lift-offWith its strong eyefor world class talent,the European FilmPromotion’sShooting Starsprogram has become aninvaluable launchpadfor promisingup-and-comersBy Scott RoxboroughJudging the potential of youngtalent can be a tricky business. Just askany baseball scout. Today’s little leaguechamp is tomorrow’s major league bum.Which makes the Berlinale ShootingStars’ batting average all the more impressive.Over the past 11 years, the talentscouts at European Film Promotion havepicked a hall-of-fame-worthy gallery ofwinners. All star talent such as DanielCraig and Rachiel Weisz; solid Europeanmid-fielders including Germany’s DanielBruhl, France’s Ludvine Sagnier and ThureLindhardt from Denmark, and a bullpen ofpromising up-and-comers, includingSweden’s Gustaf Skarsgard and Romanianactress Anamaria Marinca.European Film Promotion, the Eurocinema cheerleading association whichorganizes the Shooting Stars, has honedits scouting skills over the years.While initially the selection included atoken star from each member nation of theEuropean Union, last year’s line-up wasslimmed down to just 10 talents. This year,those 10 were picked by an independentjury of film professionals — among themU.K. film writer Peter Cowie, Belgian producerMarion Hansel and Portuguese castingdirector Patrícia Vasconcelos.“We wanted to get more professionalhelp on this, to make sure we find the besttalents out there as well as the ones whowould be the most interesting for internationalagents and producers,” saysKaren Dix of EFP.Judging by the talents on display thisyear, it seems to have worked. Front ofthe class are Germany’s David Kross, whohad his English-language debut beingseduced by Kate Winslet in StephenDaldry’s multi-Oscar nominated “TheReader,” and Carey Mulligan, the Britishactress who is turning heads thanks toher own ill-advised romance with PeterSarsgaard at in Lone Scherfig’s Sundanceentry “An Education.”Of course, it could be argued that talentslike these hardly need a platformlike the Shooting Stars to attract attention.Kross, for example, had been onevery German agent’s up-and-comerlist for years and had signed with andinternational agency well before theShooting Stars line up was announced. Itseems likely that future A-listers DanielCraig and Rachel Weisz, Franke Potenteand Daniel Bruhl would have achievedinternational success with or withoutthe Shooting Stars.Los Angeles 323.525.2000 | New York 646.654.5000 | London +44.207.420.6139 | Beijing +86.139.1118.1756 | THR.com/berlin | day 513


day5_Shooting Stars_c 2/7/09 4:10 PM Page 14The Hollywood Reporter | Monday, February 9, 2009world report | shooting starsSarah BolgerIrelandCeline BolomeySwitzerlandVeronica EcheguiSpainHafsia HerziFranceCarey MulliganUnited KingdomShooting Stars 2009Cyron MelvilleDenmarkSamuli VauramoFinlandAlba RohrwacherItalyOrsi TothHungaryDavid KrossGermany“It’s hard to point to what exactly contributedto the future success,” says Germanagent Andrea Lambsdorff, whose client HannahHerzsprung was a Shooting Star last yearand has since appeared in Oscar nominated“The Reader” and “The Baader Meinhof Complex.”“When Hannah was nominated, she hadjust come out with (Chris Kause’s) “4 Minutes,”which had a huge impact and wentaround the world. She got a lot of attentionafter the Shooting Stars, but it’s hard to separateout what was the result of the event andwhat was because of the work.”But anecdotal evidence suggests formerShooting Stars do enjoy a post-Berlinale bump.Romania’s Anamaria Marinca picked up anagent at last year Shooting Stars (LondonbasedConway van Gelder) and launched herinternational career — appearing in FrancisFord Coppola’s “Youth Without Youth,”Hans-Christian Schmid’s Berlinale competitionentry “Storm” and “The Countess” fromJulie Delpy.In 2003, the Shooting Stars event putDaniel Bruhl in contact with a Spanishagency, a meeting that led to the Germanactor, who is fluent in Spanish, setting up aparallel career in Iberia. He has since starredin Manuel Huerga’s “Las Madres de Elna”and “Salvador” and Aitzol Aramio’s “Un Pocode chocolate.”“Having been a Shooting Star has helped alot, it’s a seal of quality,” says Lene Seested ofDenmark’s Panorama Agency, which representsThure Lindhardt, a Shooting Star in 2000. “It islike Thure had won a Danish Oscar or similarprize. It helps to be able to say, especially toAmerican casting directors and producers, thathe was chosen for having the qualities neededto become a real international star.”Lindhardt, who starred in the Danishseems to be fulfilling his Shooting Starpotential. Seested hopes this year’s event willhave a similar effect on the career of CyronMelville, also a Panorama client, who hasmade the cut for 2009.For ambitious European actors, there couldhardly be a better time to come of age. Crossborderco-productions are becoming thenorm and producers are casting their netswide for on-screen talent.“Europe in particular is opening up, youare seeing Swedish and Danish actors in Germanproductions, Germans in Spanish andFrench films — something that would havebeen unthinkable just a short time ago,” saysGerman casting agent Simon Bar.That’s evidenced by the cosmopolitancasts in this year’s Berlinale line-up. JulieDelpy’s “The Countess” features Germany’sDaniel Bruhl and Maria Simon alongsideRomanian actress Anamaria Marinca. Italianactor Riccardo Scarmarcio stars in Costa-Gavras’ Berlinale closer “Eden Is West”together with Germans Ulrich Tukur andJuliane Kohler. Theo Angelopoulos’ “TheDust Of Time” includes Germany’s ChristianePaul, Swiss actor Bruno Ganz andFrance’s Michel Piccoli.“I think it’s helped that European actorshave been so successful internationally — yousee that last year the best actor and bestactress Oscars both went to Europeans,” saysLene Seested. “U.S. agents have started to callme. Which never used to happen before.”It’s anyone’s guess where the 2009 crop ofShooting Stars will be in a few years time.The names Celine Bolomey, Orsi Toth, SarahBolger and Veronica Echequi might be completelyunknown or world-famous, but giventhe event’s track record, it wouldn’t be bewise to bet against them. ∂Cast SystemInternational casting directors decend on the Berlinale to talk shopCASTING DIRECTORS are used to being low on theproduction totem pole — usually ranking somewherebetween screenwriter and best boy. But atthe Berlinale Shooting Stars, casting professionalshave carved out a space to assert themselves.Casting directors from across Europe and the U.S.have been checking out the up-and-coming talent atthe Shooting Stars since the event began. Four yearsago, after a group of 15 casting professionals decidedto set up a formal network, the International CastingDirectors Network (ICDN) was born.Now every year in Berlin, and informally throughoutthe year, some of the best in their field meet toexchange information and facilitate cross-bordercooperation.“Casting directors are usually independents andhave little contact with other members of their profession,particularly those in other countries,” saysKarin Dix of Shooting Stars organizer European FilmPromotion. “The network gives them the rare opportunityto meet and talk about common problems.”“The issues are very similar in every country,” addsSimone Bar, one of Germany’s leading casting directors,who joined the ICDN last year. “For example,though my colleagues in the U.K. and the U.S. tend toget paid more, there is, similar to here in Germany, stillvery little recognition of the work they do.”While the film industry has become increasinglyinternational, casting remains a stubbornly localbusiness. A big studio production could involve castingin half a dozen European countries. But if itweren’t for the ICDN, those casting directors would“Casting directors are usuallyindependents and have little contactwith other members of theirprofession, particularly thosein other countries.”— Karin Dix, Shooting Stars organizerEuropean Film Promotionlikely never speak to one another.“I’ve noticed that agents in other countries oftendon’t even respond to a request from a Germancasting director,” she says. “But if I call a (ICDN) collegueand get them to make the request for me, theresponse comes right away.”The ICDN has now grown to 28 casting directorsin 12 countries, many of whom will be heading toBerlin this year. Some of the better-known includeLana Veenker, whose Portland, Oregon firm helpedcast “Twilight;” Spain’s Pep Armengol, whose recentcredits include “Vicky Cristina Barcelona” and LeoDavis of Brit firm Just Casting, which helped selectthe talent for “The Constant Gardener” and “GirlWith a Pearl Earring.”While the network continues to grow steadily, theICDN is careful to only take the best of the best. Inaddition to being established casting directors in theirhome territories, potential new members have tohave at least three international co-productionsunder their belt and be recommended by at leastthree current ICDN members.But while the ICDN remains a small, exclusiveclub, it’s likely its importance will continue to growas filmmakers in Europe and the U.S. look beyondtheir borders for the world’s best talent.— Scott RoxboroughLos Angeles 323.525.2000 | New York 646.654.5000 | London +44.207.420.6139 | Beijing +86.139.1118.1756 | THR.com/berlin | day 514


Heart of TimeDirector: Alberto CortésDrama / Mexico 2008 / 35mmScreening Schedule09.02. 09:30 ParliamentMARKET PREMIERENora’s WillDirector: Mariana ChenilloDrama / Mexico 2008 / 35mmScreening Schedule10.02. 11:15 ParliamentMARKET PREMIEREAnother kindof MusicDirector: José GutiérrezDrama / Mexico 2008 / 35mmIn Berlin: Alfredo Calvino 0176 53576431 / Estrella Araiza 017653573218Parque de las Estrellas 2755 Col. Jardines del BosqueC.P. 44510 Guadalajara, Jalisco, Méxicolatinofusion@latinofusion.com.mx / www.latinofusion.com.mxLatinoFusion_D5_02_09_09.indd 12/4/09 1:05:11 PM


day5_p16_screen_fest+mkg c 2/8/09 3:02 PM Page 16>>>festivalscreeningsMonday,THR.com/berlinFebruary 9, 2009“The Messenger”>TODAY9:30 Pardon My French,France, 105 mins, Forum,CineStar 8 (E)10:30 Absolute Evil, U.S.-Germany, 80 mins, PanoramaSpecial, CinemaxX 711:15 North Face, Austria-Germany, 126 mins, GermanCinema (with accreditationonly), CinemaxX 1 (E)12:00 Mammoth, Sweden-Germany-Denmark, 120 mins,Competition, Friedrich-stadtpalastBerlin (D, E); At Stake,Indonesia, 107 mins, PanoramaDokumente, CineStar 7 (E)12:15 Sometime in August,Germany, 92 mins, Forum,CineStar 8 (E)12:30 Filmmakers AgainstRacism, Forum, Arsenal 1 (E)12:45 Kill Daddy Good Night,Germany-Austria-France, 117mins, Panorama Special,CinemaxX 7 (E)13:00 Encirclement, Canada,160 mins, Forum, Cubix 7 (E);Catapult, Germany, 98 mins,Perspektive Deutsches Kino,Colosseum 1 (E)13:30 Jerichow, Germany, 93mins, German Cinema (withaccreditation only), CinemaxX1 (E)14:00 By Comparison,Germany-Austria, 61 mins,Forum, Delphi Filmpalast (ITE);The Other Bank, Georgia-Kazakhstan, 90 mins, GenerationKplus, CinemaxX 3 (E)14:30 High Life, Canada, 80mins, Panorama, Cubix 9; Kissthe Moon, Pakistan-Germany,80 mins, PanoramaDokumente, CineStar 7 (E);Mary and Max, Australia, 92mins, Generation 14plus,Babylon Berlin Mitte14:45 The Day After, SouthKorea, 88 mins, Forum,CineStar 8 (E)15:00 Mammoth, Sweden-Germany-Denmark, 120mins, Competition,Friedrichstadt-palast Berlin(D, E); Marin Blue, U.S., 77mins, Forum, Arsenal 1 (D)15:30 Dr. Aleman, Germany,102 mins, German Cinema(with accreditation only),CinemaxX 1 (E); The inheritors,Mexico, 90 mins,Generation Kplus, Filmtheateram Friedrichshain (E); WarAnd Love In Kabul, Germany,87 mins, PanoramaDokumente, Colosseum 1 (E);Katia’s Sister, Netherlands,85 mins, Generation 14plus,Cubix 8 (E); MaxEmbarrassing, Denmark, 94mins, Generation Kplus, ZooPalast 1 (E)16:00 Everyone Else,Germany, 119 mins,Competition, Berlinale Palast(E); Mental, Japan, 135 mins,Forum, Delphi Filmpalast (E);Berlinale Shorts IV,CinemaxX 6 (E)16:30 Cherrybomb, U.K., 82mins, Generation 14plus,CinemaxX 317:00 Just Walking, Spain-Mexico, 129 mins, PanoramaSpecial, Cubix 9 (E); TheGood American, Germany, 90mins, Panorama Dokumente,CineStar 7 (D); Lala’s Gun,People’s Republic of China, 99mins, Generation 14plus,Babylon Berlin Mitte (E); TheShock Doctrine, U.K., 90mins, Panorama Dokumente,International; SoundlessWind Chime, Hong Kong-China-Switzerland, 110 mins,Forum, CineStar 8 (E)17:30 A Woman in Berlin,Germany-Poland, 131 mins,German Cinema (with accreditationonly), CinemaxX 1 (E);Coyote, Spain, 81 mins,Panorama Dokumente, Cubix 7(E); My Greatest Escape,France, 107 mins, Forum,Arsenal 1 (E)17:45 Ghosted, Germany-Taiwan, 89 mins, Panorama,CineStar 3 (E)18:00 Food, Inc., U.S., 94mins, Berlinale Special Gala,Cubix 8 (D); Tre Puccini,Arsenal 2;18:30 HFF “Konrad Wolf,”German Democratic Republic,After Winter Comes SpringShort Film, Zeughauskino (E)19:00 The Countess,Germany-France, 94 mins,Panorama Special, ZooPalast 1; Beeswax, U.S., 100mins, Forum, DelphiFilmpalast (D);Presentation of EuropeanShooting Stars, screening ofThe Messenger, U.S., 105continued on page 18Los Angeles 323.525.2000 | New York 646.654.5000 | London +44.207.420.6139 | Beijing +86.139.1118.1756 | THR.com/berlin | day 516


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day5_p16_screen_fest+mkg c 2/8/09 3:02 PM Page 18The Hollywood Reporter | Monday, February 9, 2009festival/market | screenings>>>marketscreenings“ThePrivateLives ofPippa Lee”Festivalcontinued from page 16mins, Competition,Berlinale Palast (D)19:30 Buono come it paneand Mid August Lunch, Italy,15 mins, Eat, Drink, SeeMovies, Martin-Gropius-BauKinosaal/Spiegelzelt; Polar,Roller Coaster, and Gitti,Perspektive Deutsches Kino,CinemaxX 3 (E); A History ofIsraeli Cinema, France-Israel, 210 mins, Forum,CinemaxX 4 (E); Help GoneMad, Russia, 118 mins, Forum,CineStar 8 (E)20:00 Fig Trees, Canada, 100mins, Panorama, CinemaxX 7;Can Go Through Skin,Netherlands, 97 mins, Forum,Colosseum 1 (E); The Story ofthe Flaming Years, UDSSR,91 mins, Retrospective,International (E); NocturnalUproar, France, 94 mins, 30Years of Programming,CineStar 7 (E); The HappiestGirl in the World, Romania-Netherlands, 100 mins, Forum,Cubix 9 (E)20:15 Treeless Mountain,U.S.-South Korea, 89 mins,Forum, Arsenal 1 (E); YangYang, Taiwan, 112 mins,Panorama, CineStar 3 (E);Berlin Is in Germany,Germany, 96 mins, 10 Years ofPanorama Audience Award,Cubix 7 (E); Paper Dolls,Israel-Switzerland, 80 mins, 10Years of Panorama AudienceAward, Cubix 8 (E)20:30 Catapult, Germany 98mins, Perspektive DeutschesKino, CinemaxX 1 (E); LunchBreak, U.S., 83 mins, Forumexpanded, Arsenal 221:00 Dancing Hawk, Poland,98 mins, After Winter ComesSpring, Zeughauskino (E);Tribute to Günter Rohrbach,Effi Briest, Germany, 118 mins,Berlinale Special Homage,Friedrichstadtpalast Berlin (E)21:30 The Bone Man, Austria,121 mins, Panorama Special,Zoo Palast 1 (E); Deep in theValley, Japan, 135 mins,Forum, Delphi Filmpalast (E);Dog’s Night Song, Hungary,145 mins, After Winter ComesSpring, CinemaxX 8 (E)21:45 Every Little Step, U.S.,95 mins, Berlinale Special,Cinema Paris22:00 Cheyenne Autumn,U.S., 158 mins, Retrospective,International; Berlinale ShortsI, CinemaxX 3 (E); Antique,South Korea, 109 mins, Eat,Drink, See Movies, Martin-Gropius-Bau Kinosaal (E)22:30 Mammoth, Sweden-Germany-Denmark, 120mins, Competition, Urania(D, E); The Private Lives ofPippa Lee, U.S., 93 mins,Competition, out of competition,Berlinale Palast (D);The Casuarina Cove, andEnd of Love, Panorama, Cubix7 & 8; Pedro, U.S., 93 mins,Panorama Special, Colosseum1 (E); Retribution, Brazil, 107mins, Panorama, CinemaxX 7(E); Bellamy, France, 110mins, Berlinale SpecialHomage, Babylon Berlin Mitte(E); When You’re Strange,U.S., 88 mins, PanoramaDokumente, CineStar 7 (D);My Dear Enemy, South Korea,123 mins, Forum, Cubix 9 (E);Playtime (restored version),France-Italy, 126 mins,Retrospective, CineStar 8;Sensory Spaces #2, Forumexpanded Short, Arsenal 122:45 Bluebeard, France, 80mins, Panorama, CineStar 3(E)>TODAY9:00 Five Minutes ofHeaven, U.K.-Iceland-Ireland,90 mins, Pathe PicturesInternational, CineStar 1; TheNecessities of Life, Canada,102 mins, EOne FilmsInternational, CineStar 4;Against the Current, U.S., 99mins, Fortissimo Films,CineStar 6; Black Eyes,Netherlands, 100 mins,Boutique Films, Marriott 3;Wonderful World, U.S., 89mins, K5 International, Marriott2; Hooked, France-Romania,84 mins, Rezo, CinemaxX 8;Marine Boy, South Korea, 110mins, CJ Entertainment,CinemaxX 4; Spyies, France,99 mins, Kinology, CinemaxXStudio 15; End Call, Japan, 94mins, MonteCristo International,CinemaxX Studio 17; TheLiving, Ukraine, 75 mins,Ukrainian Cinema Foundation(UCF), Martin-Gropius-BauKinosaal; Galantuomini, Italy,100 mins, Coach 14, CinemaxXStudio 13; The Betrayal, U.S.,96 mins, n/a, CinemaxX 6;Sin nombre, Mexico/USA, 96mins, Focus Features,CinemaxX Studio 199:15 North, Norway, 78 mins,Memento Films International,CineStar 2; Sleeping Songs,Germany, 86 mins, ARRI MediaWorldwide, CinemaxX Studio11; Storm, Germany-Denmark,Netherlands, 110 mins,TrustNordisk, CineStar 5;Alone, Turkey, 113 mins, mostproduction, Arsenal 29:30 Adam Resurrected, U.S.-Germany-Israel, 102 mins,Bleiberg Entertainment,CinemaxX 2; Ghosted,Germany-Taiwan, 89 mins, m-appeal, CinemaxX Studio 14;Gigante, Uruguay-Germany-Argentina-Netherlands, 84mins, The Match Factory GmbH,Friedrichstadtpalast Berlin;Goat Story: The Old PragueLegends, Czech Republic, 84mins, Art and Animation Studio,dffb-Kino; Muneca, Chile, 84mins, Latido Films, CinemaxXStudio 12; Cherrybomb, U.K.,82 mins, The Little Film Co.,CinemaxX 3; Sunshine Barryand the Disco Worm,Denmark-Germany, 79 mins,Sola Media GmbH, CinemaxX 1;Heart of Time, Mexico, 95mins, Latinofusion, Parliament;For My Father, Israel-Germany, 98 mins, ForwardMotion Entertainment, CineStar7; Where God Left His Shoes,U.S., 100 mins, Cinemavault,CinemaxX Studio 16; Americathe Beautiful, U.S., 100 mins,ID Communications, Marriott 1;Arlen Faber, U.S., 95 mins, ElleDriver, CinemaxX Studio 18;Pardon My French, France,105 mins, Les Films du Losange,CineStar 8; Last ChanceHarvey, UK, 93 mins,Paramount Vantage,Cinemaxx 1010:30 I Love You PhillipMorris, U.S., 102 mins,EuropaCorp, Martin-Gropius-Bau Kinosaal10:45 Broken Promise,Slovakian Republic, 129 mins,SPI International, CinemaxXStudio 19; The Missing Lynx,Spain, 97 mins, 6 Sales,CinemaxX Studio 15; LOL,France, 120 mins, PathePictures International, CineStar1; An American Affair, U.S.,96 mins, Screen MediaVentures, Marriott 211:00 Unmistaken Child,Israel, 102 mins, FortissimoFilms, CinemaxX Studio 13;Dogging: A Love Story, U.K.,103 mins, Protagonist Pictures,CinemaxX 6; EnglishStrawberries, Czech Republic,114 mins, Simply Cinema, dffb-Kino; Dark Streets, U.S., 84mins, AV Pictures, CineStar 6;The Greatest, U.S., 100 mins,Kimmel International,CinemaxX 9; The Letter forthe King, Netherlands, 108mins, Delphis Films, CineStar 4;Underdogs, Israel, 85 mins,Dream Entertainment,CinemaxX Studio 17; A FrenchGigolo, France, 104 mins,Gaumont, CineStar 2; Romaine30º Below, France-Canada,100 mins, UGC International,CinemaxX 4; A New Ice Age,France, 101 mins, Doc & FilmInternational, Marriott 3; DarkStreets, U.S., 84 mins, AVPictures, CineStar 611:15 North Face, Austria-Germany, 126 mins, BetaCinema, CinemaxX 1;Mammoth, Sweden-Germany-Denmark, 120mins, TrustNordisk,CinemaxX 10; La Rina, thePit, Brazil, 86 mins,Tropicalstorm Entertainment,Los Angeles 323.525.2000 | New York 646.654.5000 | London +44.207.420.6139 | Beijing +86.139.1118.1756 | THR.com/berlin | day 518


day5_p16_screen_fest+mkg c 2/8/09 3:03 PM Page 19Monday, February 9, 2009Parliament; Mercy, U.S., 85mins, IM Global, CinemaxXStudio 18; Oscar, the Colorof Destiny, Spain, 108 mins,KWA Kevin WilliamsAssociates; CinemaxX Studio14; The Last Hanging,Portugal-Brazil-Spain,Mozambique, 94 mins, n/a,CinemaxX Studio 1211:30 Robert Zimmerman IsTangled Up in Love,Germany, 102 mins, BavariaFilm International, Arsenal 2;Gigante, Uruguay-Germany-Argentina-Netherlands, 84mins, The Match FactoryGmbH, CinemaxX 3;Transition, Slovenia, 90mins, Slovenian Film Fund-Filmski Slad, CinemaxX Studio16; Lippel’s Dream, Germany,101 mins, Telepool GmbH,CinemaxX 2; This ShouldNot Be: Our Children WillAccuse Us, France, 112 mins,Wide Management, Marriott 1;Red Sunrise, Italy, 80 mins,Minerva Pictures Group,CineStar 512:00 Mammoth, Sweden-Germany-Denmark, 120mins, TrustNordisk,Friedrichstadt-palastBerlin; Sometime inAugust, Germany, 92 mins,Bavaria Film International,CineStar 812:30 John Rabe, Germany-France-China, 134 mins, BetaCinema, CineStar 6; PrincessKa'lulani, U.K.-U.S., 130mins, ContentFilm International,Martin-Gropius-BauKinosaal; Omerta, Cuba, 82mins, ICAIC, Marriott 2; TheNoise in My Head,Switzerland-Germany, 90mins, Films Boutique,CinemaxX Studio 1512:45 Kill Daddy GoodNight, Germany-Austria-France, 117 mins, CelluloidDreams, CinemaxX 713:00 Little Soldier,Denmark, 100 mins,TrustNordisk, CineStar 4;Spring 1941, Israel, Poland,97 mins, ShorelineEntertainment, CineStar 5;The Anarchist's Wife,Germany-Spain-France, 112mins, Bavaria FilmInternational, CinemaxX 4;Vasha, Estonia-Germany-Finland, 100 mins, Allfilm OU,CinemaxX Studio 11; No-do,U.S.-Spain, 120 mins,Lightning Entertainment,CinemaxX Studio 13; VillaAmalia, France-Switzerland,102 mins, EuropaCorp,CineStar 1; The Great Thaw,Czech Republic, 95 mins, SPIInternational, Parliament;market | screeningsWild Horse From Shangrila,China, 83 mins, GoldenNetwork Asia, CineStar 2;Mekano, Egypt, 108 mins,Arabia Cinema Production &Distribution, dffb-Kino;Shultes, Russia, 100 mins,Inercinema, Marriott 3;Defamation, Israel-Austria, 93mins, Cinephil-Distributionand Co-Productions,CinemaxX Studio 1813:15 The Baby Formula,Canada, 82 mins, GrindstoneMedia, CinemaxX Studio 17;March, Austria, 84 mins,Austrian Film Commission,CinemaxX Studio 19; Arn:The Knight Templar,Sweden, 127 mins, AB SvenskFilmindustri, CinemaxXStudio 1213:30 Jerichow, Germany, 93mins, The Match FactoryGmbH, CinemaxX 1;Someone I Loved, France,99 mins, SND-Groupe M6,Arsenal 2; Winter inWartime, Netherlands-Belgium, 104 mins, High PointFilms, CinemaxX Studio 16; IKnow You Know, U.K.-Germany, 81 mins, The LittleFilm Co., CinemaxX 10;Broken Lines, U.K., 112 mins,EOne Films International,CinemaxX Studio 14; With aLittle Help From Myself,France, 92 mins, Kinology,CinemaxX 2; Hollywood I’mSleeping Over Tonight,France, 100 mins, Wild Bunch,Marriott 114:00 Welcome, France, 116mins, Films Distribution,International; A Matter ofSize, Israel-Germany, 90mins, K5 International,Marriott 2; The Other Bank,Georgia-Kazakhstan, 90mins, Georgian National FilmCenter; CinemaxX 314:15 A Lake, France, 90mins, Films Boutique,CinemaxX Studio 1514:30 High Life, Canada, 80mins, ShorelineEntertainment, Cubix 9; Maryand Max, Australia, 92 mins,Icon EntertainmentInternational, Babylon BerlinMitte; Coco, France, 105mins, StudioCanal, CineStar2; The Pot,South Korea, 115 mins,Showbox/Mediaplex,CinemaxX Studio 1714:45 Diamond 13, France-Belgium-Luxembourg, 100mins, MK2, CinemaxX 8; TheReason Why, Austria, 90mins, Insomnia World Sales,CinemaxX Studio 19;continued on page 20Film Center SerbiaPresents at theFRESH: NEW FILMS FROM SERBIACompilation of Previews of Films Currently in Productionor Post ProductionMarket screeningsMarriott 2, February 9th, 15:45The Ambulance / Hitna pomoć, by Goran RadovanovićThe Belgrade Phantom / Beogradski fantom, by JovanTodorovićThe Devil's Town / Đavolja varoš, by Vladimir PaskaljevićEdith & Me / Edit i ja, by Aleksa GajićHere And There / Tamo i ovde, by Darko LungulovIf The Seed Doesn’t Die / Ako zrno ne umre, by SinišaDraginJelena, Katarina, Marija / Jelena, Katarina, Marija, byNikita MilivojevićSerbian Film / Srpski film, by Srdjan SpasojevićSkinning / Šišanje, by Stevan FilipovićSt. George Shootes The Dragon / Sveti Georgije ubivaaždahu, by Srdjan DragojevićWait For Me And I Will Not Come / Čekaj me ja sigurnoneću doći, byMiroslav Momčilović&THE TOUR / Turneja, by Goran Markovic, 2008Market screeningParlament Total / February 11th, 15:15hPlease visit us:Film Center SerbiaMarriott HotelStand # 101Tel: +49 30 22000 1127www.fcs.rsLos Angeles 323.525.2000 | New York 646.654.5000 | London +44.207.420.6139 | Beijing +86.139.1118.1756 | THR.com/berlin | day 519


day5_p16_screen_fest+mkg c 2/8/09 3:03 PM Page 20The Hollywood Reporter | Monday, February 9, 2009festival/market | screeningsMarketcontinued from page 19Happiness, Israel, 50 mins,NOA-International FilmMarketing, Parliament14:50 Walled In, U.S., 100mins, QED International, dffb-Kino; Yuppi Du, Italy, 120 mins,Adriana Chiesa Enterprises,CinemaxX Studio 1115:00 Troubled Water,Norway-Sweden-Germany, 116mins, Bavaria FilmInternational, CinemaxX 4;Mammoth, Sweden-Germany-Denmark, 120 mins,TrustNordisk, FriedrichstadtpalastBerlin; All Inclusive,U.S.-Chile, 91 mins, FilmSharksInternational, CineStar 1;Gigantic, U.S., 97 mins,Fortissimo Films, CineStar 6;Trucker, U.S., 92 mins,Cinemavault, Martin-Gropius-Bau Kinosaal; Heaven's Door,Japan, 106 mins, Asmik AceEntertainment, CineStar 415:15 Big River Man, U.S., 100mins, Salt, Marriott 1; CityIsland, U.S., 100 mins,WestEnd Films, Arsenal 2;Frankie, the Womanizer,Czech Republic, 83 mins,Intramovies, CinemaxX Studio13; The Square, Australia, 105mins, Pathe PicturesInternational, CinemaxX 215:30 Katia's Sister,Netherlands, 85 mins, MediaLuna Entertainment GmbH &Co., Cubix 8; MaxEmbarrassing, Denmark, 94mins, Delphis Films, Zoo Palast;Uncertainty, U.S., 101 mins,Myriad Pictures, CineStar 5;The Persuer, Sins of MyFather, Round Trip, TheBlood and the Rain, You andMe and Tomorrow, Days inMay, Latin American Work inProgress, CinemaxX Studio 18;Strangers, Spain, 105 mins,Latido Films, CinemaxX Studio14; Let's Make Money, Austria,107 mins, Celluloid Dreams,CinemaxX Studio 16; Dr.Aleman, Germany, 102 mins,Telepool GmbH, CinemaxX 1;Go Go 70s, South Korea, 118mins, Fine Cut Co., CinemaxXStudio 1215:45 Fresh: New Films FromSerbia, Serbia, 90 mins, FilmCenter Serbia, Marriott 216:00 Everyone Else,Germany, 119 mins, BavariaFilm International, BerlinalePalast; Skin, U.K.-South Africa,107 mins, The Little Film Co.,CinemaxX Studio 15; Mental,Japan, 135 mins, FilmsBoutique, Delphi Filmpalast16:30 The Last Applause:Tango Stories in BuenosAires, Germany-Japan-Argentina, 88 mins, Atrix FilmsGmbH, CinemaxX Studio 19;Cherrybomb, U.K., 82 mins,The Little Film Co., CinemaxX 3;LVK, U.K., 88 mins, AV Pictures,CineStar 2; One Day in a Life,Italy, 82 mins, Ripley's Film s.r.l.,dffb-Kino, The Count and theComrade, Germany, 72 mins,MG.Art, Parliament16:45 At West of Pluto,Canada, 95 mins, EOne FilmsInternational, CinemaxX 8;Eden, Ireland, 85 mins, HighPoint Films, Martin-Gropius-Bau Kinosaal; Trouble atTimpetill, France, 120 mins,Pathe Pictures International,CineStar 117:00 In the Loop, U.K., 109mins, Protagonist Pictures,CinemaxX 4; Lymelife, U.S., 93mins, Cinemavault, CineStar 6;Henry of Navarre, Germany, 20mins, Bavaria Film International,CinemaxX Studio 17; ThreeWise Men, Finland, 97 mins,Wide Management, CinemaxXStudio 11; Departures, Japan,130 mins, ContentFilmInternational, CineStar 4; YoroiSamurai Zombie, Japan, 91mins, Bogeydom Licensing,Marriott 3; Tony Manero, Chile-Brazil, 97 mins, Funny Balloons,CinemaxX Studio 13; China IsStill Far, France-Algeria, 120mins, Doc & Film International,Marriott 117:30 Quick Gung Murugan,India, 97 mins, MonteCristoInternational, CinemaxX Studio17; $9.99, Israel-Australia, 78mins, Fortissimo Films,CinemaxX Studio 14; Gigante,Uruguay-Germany-Argentina-Netherlands, 84mins, The Match Factory“Rage”GmbH, Urania; My GreatestEscape, France, 107 mins,Celluloid Dreams, Arsenal 1; MyName Ain't Johnny, Brazil, 124mins, Vereda Filmes, CinemaxXStudio 16; Happy New Year,Switzerland, 94 mins, T&C FilmAG; CinemaxX 2; MinervaPictures Promo Reel, Italy, 60mins, CinemaxX Studio 18; AWoman in Berlin, Germany-Poland, 131 mins, Beta Cinema,CinemaxX 1; The Red Canvas,U.S., 102 mins, Photo-KicksCinema, Marriott 217:45 Ghosted, Germany-Taiwan, 89 mins, m-appeal,CineStar 3; Crush and Blush,South Korea, 101 mins, Fine CutCo., CinemaxX Studio 1218:00 Rage, U.K.-U.S., 99mins, 6 Sales, FriedrichstadtpalastBerlin; Trapped,Ireland, 92 mins, EastWestFilmDistribution, CinemaxXStudio 19; Captive, Russia-Bulgaria, 80 mins, Rock Films,CinemaxX Studio 15; Promo:Love at First Hiccup,Metropia, Denmark, 70 mins,TrustNordisk, CineStar 518:15 Buddenbrooks: TheDecline of a Family, Germany,144 mins, Bavaria FilmInternational, CineStar 2;Paper Wedding, Brazil, 102mins, Providence Filmes,Parliament18:45 A Woman’s Way,Greece, 113 mins, FilmsDistribution, CinemaxX Studio11; Mika & Alfred, Russia, 94mins, Eclectic Film Sales,CineStar 6; Forbidden Fruit,Finland-Sweden, 104 mins,NonStop Sales AB, CinemaxXStudio 14; The Toe Tactic,U.S., 84 mins, DeA Planeta,Marriott 3; The Only GoodIndian, U.S., 114 mins, TLCFilms, CinemaxX Studio 18;The Wedding Song, France,100 mins, PyramideInternational, CinemaxXStudio 1319:00 The Countess, France,94 mins, Celluloid Dreams, ZooPalast; Dead Snow, Norway, 91mins, Elle Driver, CineStar 119:15 The Magic Tree, Poland,90 mins, Telewizja Polska S.A.,CinemaxX Studio 17; How toSurvive Myself, Netherlands,100 mins, Delphis Films,CinemaxX 2; If You Are theOne, China, 130 mins, HuayiBrothers Media Corp., CineStar4; God’s Offices, France-Belgium, 122 mins, FilmsBoutique, Marriott 119:30 The Vintner’s LuckFootage, New Zealand, 120mins, NZ Film, Marriott 2;Afterword, India, 105 mins, BigPictures, CinemaxX Studio 1519:45 Yatterman, Japan, 119mins, Nikkatsu Corp., CineStar5; Scandal Makers, SouthKorea, 108 mins, M-LineDistribution, CinemaxX Studio16; Cobweb, U.S., 100 mins,Arclight Films/Darclight/Easternlight, CinemasXStudio 1220:00 The World is Big andSalvation Lurks Around theCorner, Bulgaria-Germany-Slovenia-Hungary-Serbia, 105mins, m-appeal, CinemaxXStudio 19; Can Go ThroughSkin, Netherlands, 97 mins,Films Boutique, Colosseum 1;The Happiest Girl in theWorld, Romania-Netherlands,100 mins, Films Boutique,Cubix 9; Rage, U.K.-U.S., 99mins, Six Sales, Urania; In theElectric Mist, France-U.S., 117mins, TF1 International,CinemaxX 1020:15 Treeless Mountain,U.S.-South Korea, 89 mins,Memento Films International,Arsenal 121:30 The Bone Man, Austria,121 mins, Atrix Films GmbH, ZooPalast 122:00 Antique, South Korea,109 mins, Fine Cut Co., Martin-Gropius-Bau Kinosaal22:30 Mammoth, Sweden-Germany-Denmark, 120 mins,TrustNordisk; Urania; ThePrivate Lives of Pippa Lee,U.S., 93 mins, IM Global,Berlinale Palast; Bellamy,France, 110 mins, TF1 International,Babylon Berlin Mitte22:45 Bluebeard, France, 80mins, Pyramide International,CineStar 3Los Angeles 323.525.2000 | New York 646.654.5000 | London +44.207.420.6139 | Beijing +86.139.1118.1756 | THR.com/berlin | day 520


day5_p21,22,24,25_revs c 2/8/09 5:10 PM Page 21The Hollywood Reporter | Monday, February 9, 2009| reviews> IN COMPETITIONBOTTOM LINE The productionscale may be too big for such anintimate look at quotidianchallenges faced by separatedfamilies.PRODUCTION: Memfis Film in copoductionwith Zentropa EntertainmentsBerlin, Zentropa Entertainments5,Film I Vast, SverigersTelevision, TV2 Denmark. CAST:Gael García Bernal, Michelle Williams,Sophie Nyweide, Tom McCarthy, MarifeNecesito, Run Srinikornchot.DIRECTOR-SCREENWRITER: Lukas Moodysson.‘Mammoth’By Kirk Honeycuttrunscounter to expectations.In his sixth fea-“Mammoth”ture film and English-languagedebut, Lukas Moodysson for thefirst time has movie stars andinternational locations, whichcauses one to anticipate theSwedish director doing a TomTykwer — looking to expand hisfilmmaking via a big, globehoppingpicture. Anything but.For despite its title, “Mammoth”is a small-scale story about familiesand how children fit into anoften puzzling adult world. Thestory simply takes place in threedistinct time zones.Those expectations may hurtthe film’s ability to move beyondspecialty markets, however. Thefilm’s vagueness of purpose andelevation of small ironies andself-evident truths to the levelof deep-dish revelations mayfurther damage the film withsophisticated viewers. The boxofficeoutlook is iffy at best.If one thinks of “Babel”minus the melodrama andhistrionics, you get a clearerpicture of what Moodysson hasdone here. Families get split uparound the world, with adultsoften minding children thataren’t theirs, yet the interconnectednessremains.The film’s focal point is anupscale Manhattan couple, Leoand Ellen, played by Gael GarciaBernal and Michelle Williams.Leo is a computer geek whose“genius” for video games hasbrought him into the world ofhigh finance and ambitiousstart-ups. Ellen is an emergencyroom doctor, who spends herdays patching torn bodies themean streets keep tossing at her.Their 8-year-old daughterJackie (Sophie Nyweide) spendsmost of her time with her Filipinonanny Gloria (Marife Necesito).When Leo departs for Thailand toraise significant capital, Ellen allthe more acutely feels a sense thatshe is a bit playerin her own life.Her husband isaway and herdaughter outwith the nannywhile she franticallystruggles tosave the life of aFor morereviews and afull list of castand creditsboy whose mother thrust a knifeinto his stomach.Gloria’s own two young boysin the Philippines miss theircontinued on page 22‘Gigante’By Deborah YoungThe gently humorousaccount of a supermarketsecurity guard obsessedwith a cleaning woman he’snever spoken to, “Gigante” is apint-sized indie from Uruguaythat has wandered into Berlincompetition thanks to itsinherent charm and probably bybeing a German-Dutch co-production.Carefully combedthrough many festival developmentmarkets, the film isimpeccable but distant, lackingin spontaneity and not veryoriginal. Still, it should fit thebill for festivals and providedebuting writer-director AdrianBiniez with a bankable callingcard for future work.The story revolves around Jara(Horatio Camandule), a supermarketsecurity guard whosephysical mass is belied by his shy,sweet blue eyes. In a few cleverstrokes, Biniez defines him as anuncomplicated fellow whosehead is in the right place. Whenhe spies a cleaning woman swipingfood, he turns a blind eye;later, when she tries to abscondwith a piece of electronics, hemakes her put it back.Jara’s tedious night shifts andcouch potato life come alive> IN COMPETITIONBOTTOM LINE A shysupermarket obsession staysguardedly low-key.PRODUCTION: Control Z, PandoraFilmproduktion, IDTV Films, RizomaFilms. CAST: Horatio Camandule,Leonor Svarcas, Nestor Guzzini,Federico Garcia, Fabiana Charlo.DIRECTOR: Adrian Biniez.when he develops a crush on Julia(Leonor Svarcas), a young cleanerfrom the country. Too timid totalk to her, he begins followingher every move on the securitymonitors, then progresses tostalking her on the street. Afterfollowing her to Internet cafesand karate class, he ends upshadowing her on a blind datewith an Internet chat buddy.When the two part, he trails hernervous date down dark streets,but predictably the threateningcontinued on page 22Los Angeles 323.525.2000 | New York 646.654.5000 | London +44.207.420.6139 | Beijing +86.139.1118.1756 | THR.com/berlin | day 521


day5_p21,22,24,25_revs c 2/8/09 5:10 PM Page 22The Hollywood Reporter | Monday, February 9, 2009| reviews‘Bellamy’“BBy Kirk Honeycutt> IN COMPETITIONBOTTOM LINE Claude Chabrol'shomage to Simenon's famousCommissioner Maigret falls flat.PRODUCTION: Aliceleo Cinema.CAST: Gerard Depardieu, ClovisCornillac, Jacques Gamblin, MarieBunel, Vahina Giocante.DIRECTOR: Claude Chabrol.ellamy” is a surprisinglyflat-footed filmfrom the master ofFrench cinema, Claude Chabrol.A detective story of sorts, thefilm is a virtual talkathon thatnever catches fire as actors, twoto a scene but sometimes three,run streams of dialogue past oneanother. Indeed, “Bellamy”might have played more successfullyon stage than as a film.Master though he may be, theimportation of this Chabrol filminto North America in any majorway is no foregone conclusion.A distributor would have to takeit on as a labor of love. Even inEurope, the film seems destinedfor a brief release and then on tothe small screen.A character mentions AgathaChristie at one point. While notconstructed along the lines ofher quaint whodunits, “Bellamy”is a small chamber piece— written by Chabrol withOdile Barski — in which detectivework feels more like ahobby to pass the time agreeablyby its main character.This detective is played byGerard Depardieu, now agingand overweight but nimble asever as an actor. His Paris policecommissioner Paul Bellamy hasachieved fame as a solver ofmysteries and the author of abook about his career.He takes his annual holiday inthe south, in a house in Nimesbelonging to the family of hisattractive and loving wife Francoise(Marie Bunel). Frankly,he'd prefer to be back at work.Work manages to find him ina manner of speaking. A manseen skulking about in the gardenfinally makes a long-windedintroduction. Noel Gentil(Jacques Gamblin) — how’s thatfor a name — contacts the greatdetective with a problem: Hethinks he killed a man.Interviews with Noel, his wife(Marie Matherson) and mistress(Vahina Glocante) — he is inhiding from both women —uncover an apparent insurancescam in which Noel fakes hisdeath by placing a street bum inhis car and sending it over acliff, leaving the man burnedbeyond recognition.Noel has had plastic surgeryso the story sounds about rightbut it’s never clear where thetruth lies. Bellamy’s ownsnooping around is more tokeep his mind occupied thanany passionate search for truth.A second story line has Bellamy’shalf-brother, Jacques(Clovis Cornillac), turn up to thepleasure of neither spouse. Ane’er-do-well and a drunk,Jacques blames his brother formost of his problems. So the twotediously go round and roundabout ancient family history tothe impatience of any audience.Fact is, both storylines aretedious. One cares no moreabout whether Noel Gentil —can't be his real name — killedanyone than why Jacques issuch a miserable wastrel.Chabrol says the film servesdual purposes: to work withDepardieu and to pay homage toGeorges Simenon, the prolificBelgian novelist who created thememorable detectives in CommissionerMaigret.Maigret inspired Chabrol’screation of Bellamy, a proud butessentially happy men wholoves drinking, his wife andcrime solving, not necessarilyin that order. As a collaborationbetween Chabrol and Depardieu,Bellamy is the film’s onesuccessful element, a figureworthy of scrutiny but, alas,given only dreary chores to performwhile on holiday.‘Mammoth’continued from page 21mom badly. The eldest phonesher, begging her to come home.And Leo, who is not really adealmaker, finds himself lost inThailand, eventually windingup with a bar girl (Run Srinikornchot),who is pleasing foreignmen to support her own baby.This is the globalization of thenuclear family, where so manysmall ironies abound. Gloria’syoungest son loves basketball soshe goes to a store in New Yorkand buys him a ball, made in thePhilippines, to send to him backin the Philippines.The film’s scenes are sketchy,often inconclusive and filled withcharacters’ frustrations. WhileMoodysson’s points are clear —sometimes to the point of mundaneobviousness — audiencesmay experience their own frustrationswith all this soft drama.Of course, children miss parentshalf a world away and, ofcourse, a mother may grow jealousof her child’s intimacy withthe hired help. Such sentimentsfeel more at home in a newspapercolumn or personal blog thoughthan in a movie. The shallownessof these ideas cannot stand thewide-screen scrutiny.Production work in New York,the Philippines and Thailand isexcellent, but somehow the intimacyMoodysson clearly wantsto achieve goes missing. ∂‘Gigante’continued from page 21situation turns into mild comedy.This isn’t laugh-out-loud fun,but by keeping the story visualand nearly wordless, Biniez isable to bring out the full measureof Camandule’s gentle gianthumor. Svarcas is simple andunaffected as his obsession.The shabby Montevideo settingcould just as well have beenBuenos Aires, haunted by anendless economic crisis thatkeeps the lower rungs of societycounting their pennies. Eventhough Jara seems fairly apolitical,the film exudes sympathyfor the working class stiffs wholive under the threat of job cutbacksand redundancy.Biniez’s music background iswell served in the film’s offbeatuse of heavy metal, which is nicelyworked into the story. ∂Los Angeles 323.525.2000 | New York 646.654.5000 | London +44.207.420.6139 | Beijing +86.139.1118.1756 | THR.com/berlin | day 522


September 10 - 19, 2009Director Danny Boyle and stars Freida Pinto and Dev Patel at the Slumdog Millionaire premierein Toronto, where it won the Cadillac People's Choice Award for most popular film.Image Credit: Alexandra Wyman/WireImageEverything and everyone you need to see. Toronto.tiff09.ca/industryTorontoIntlFilm_02_09_09.indd 12/4/09 1:06:43 PM


day5_p24,25_revs d 2/8/09 5:42 PM Page 24The Hollywood Reporter | Monday, February 9, 2009| reviews‘The Bone Man’By Ray BennettAustrian comedian JosefHader returns as lugubriousformer police officerSimon Brenner in “The BoneMan,” the third of directorWolfgang Murmberger’s screenversions of the blackly comiccrime novels by Wolf Haas.Star, director and novelistcombine on the screenplay justas they did on “Come SweetDeath” (2000) and “Silentium!”(2005), and Simon Schwartzreturns as Brenner’s fusspotboss Berti, who kicks off abizarre tale of blackmail, murderand cannibalism by sending thedoleful ex-cop into the countrysideto repossess a car.Full of eccentric characters,strange twists and dead bodies,“The Bone Man” has a cheerfullytwisted sense of humor and considerabletension as the head of avery odd family resorts to murderto get himself out a of a jam.Ranking with the noir thrillers ofthe early Coen Bros., the film’sbox office prospects are lively.When Brenner is dispatchedinto the snowy hinterland toreclaim a yellow Beetle from aman named Horvath who is latewith payments, he has no ideawhat he’s walking into. Hetracks the man to theLoschenkohl Inn where he getsthe cold shoulder from owner(Josef Bierbichler), his daughter-in-lawBirgit (BirgitMinichmayr) and a waitress>PANORAMA SPECIALBOTTOM LINE Entertainingcrime thriller with a very drysense of humor.PRODUCTION: Dor FilmCAST: Josef Hader, Josef Bierbichler,Birgit Minichmayr, Christoph Luser,Simon Schwartz DIRECTOR: WolfgangMurnbergernamed Alex (Pia Hierzegger).Deciding that Horvath hassome connection to the inn, themournful and reluctant repo mandigs about unaware of the murderousdrama going on aroundhim. This involves Loschenkohland a blackmailing pimp namedEugenev (Stipe Erceg) fromBratislava with the hotel owner’slayabout son Pauli (ChristophLuser), who is married to Birgit,determined to wreck his father’splans to marry his young girlfriend(Edita Malovcic).The growing intrigue and tensionare underscored by whatgoes on in the basement of theinn where Loschenkohl has ama-chine with a lot of bladesthat renders leftovers from therestaurant — mostly the housespecialty, chicken — that is sent inbuckets to a nearby chicken farm.The gruesome images of decimatedand crushed bones addcolorful counterpoint to themayhem that takes place involvingguns, car crashes, meathooks and cleavers. But it’s alldone with great flare and drolloptimism despite the nefariousgoings on and the unlikelyromance of Brenner and Birgit ishandled very deftly. ∂‘Absolute Evil’By Peter BrunetteAt least once every festival,critics collectively scratchtheir heads and say “Howdid THAT get selected?”“Absolute Evil” is the tentativeawardee for worst film at thisyear's Berlinale. Shot in an uglydigital format (not HD) that isoften out of focus, the stockthriller structure also sportshorribly cliched, repetitive dialogue,dramatic “gestures” thatwe've seen a thousand times,and very bad performances(with the exception of DavidCarradine, who seems to behaving the time of his life).Commercial prospects, asidefrom a few DVD buyers whomight be seeking campy entertainment,seem quite remote.Savannah (Neff) is haunted bythe nightmare of seeing herfather gunned down in front ofher as a child and, after runningaway from her hometown ofCorpus Christi, Texas, to SouthernCalifornia, finally decides toreturn home to confront herdemons. She hooks up withCooper (Joiner), a spectacularlymuscled young stud who also‘Distance’By Neil YoungThe serial-killer movie is agenre that shows no signof losing steam any timesoon, and “Distance” (Distanz)is a fairly accomplished, smallscaleaddition to what’s becominga very long list.Respectfully nodding to suchforebears as “Targets” and“Henry: Portrait of a SerialKiller,” writer-director ThomasSieben — a Cologne-born politicsgrad who studied film andphotography in Boston — craftsa promising debut that shouldappeal to festivals keen toshowcase talented youngerGerman filmmakers. The latter,however, is not exactly anendangered species right now,and “Distance” is, like its murderousprotagonist, a bit toounassuming and low-key tostand far out of the crowd.The film works best as ashowcase for its star, KenDuken, who’s also one of theproducers: not a surprise, asthis is the kind of intenselyfocused character-study scriptwhich actors dream of fallinginto their agents’ letterboxes.He’s suitably inexpressive andemotionally reined-in as DanielLos Angeles 323.525.2000 | New York 646.654.5000 | London +44.207.420.6139 | Beijing +86.139.1118.1756 | THR.com/berlin | day 524


day5_p24,25_revs d 2/8/09 5:42 PM Page 25The Hollywood Reporter | Monday, February 9, 2009| reviews> PANORAMA SPECIALBOTTOM LINE Anembarrassment for Panorama.PRODUCTION: Nicky Lombard Prods.CAST: David Carradine, Carolyn Neff,Rusty Joiner DIRECTOR-SCREENWRITER: Ulli Lommel.goes by the name “Babyface.”Complications ensue but are socomplicated, and even inexplicable,that any attempt at plotsummary must stop here.It’s quite possible that directorLommel is performing this entireexercise with his tongue plantedfirmly in cheek. It’s sometimeshard to tell with Europeans whoso blindly love American genremovies. But even if this were thecase, the film is quite simplyexcruciating to watch. For example,the photography is so badthat in any scene in which a windowis included in the frame,faces are darkened to the point ofobscurity by the out-of-controlcontrast ratio. The sound, meanwhile,is less good than that usuallyfound in amateur pornshoots or student shorts.To add a bit of GermanWeltschmertz to the proceedings,mournful cellos occasionallyplay classical music, butrather than deepen the meaningof what we're seeing, thesetouches only reinforce oursense of how silly the wholething is. ∂‘Beast Stalker’By Neil YoungActors always say that playingvillains is more interestingthan playing heroes,and uneven Hong Kong policer“The Beast Stalker” (Ching Yan)proves that they’re likewisemore intriguing for audiences.This glossy, flashily directedplausibility-stretcher picks upwhenever the bad guy’s unusualcharacter and history are beingexplored, but flattens out whenthe focus shifts back from pursuedto pursuer.The latest effort from prolificdirector Dante Lam — the English-languagetitle, which doesn’treally fit the narrative, is ablatantly opportunistic attemptto suggest this is somehow asequel to his 1998 hit “BeastCops” — topped Hong Kongboxoffices on a quiet weekendback in November. But internationalplay will likely consistlargely of festivals receptive tocommercial east-Asian fare.Structured around coincidencesthat range from unlikelyto outrageous — Hong Kong issmall, but not that small — thestory pivots on the misfortunessuffered by two young childrenof divorced public prosecutorAnn Gao (Zhang Jingchu).Working on the trial of a criminalmastermind, she’s devastatedwhen her daughter is accidentallykilled during ashootout — slain by bullets firedby arrogant, ambitious copTong Fei (Nicholas Tse) after achase involving a spectacularthree-way car crash.The latter is suitably guiltracked,but gets an instant andrather handy chance at atonementwhen Ann Gao’s survivingmoppet is kidnapped by veteranhitman Hung (Nick Cheung.)The latter — presumably the“beast” of the title — is halfblind,but otherwise nearsuper-human, and he has atragic private life of his owninvolving his paralyzed spouse.The nuances in Hung’sunpredictable character keep“The Beast Stalker” reasonablywatchable during the longishstretches between action setpieces — none of which comesclose, in terms of impact, originalityand technical bravura tothe car wreck in the first reel.Incontrast to recent, hard-boiledSouth Korean film “The Chaser,”tear-jerking sentiment islaid on pretty thick throughout.It mainly serves to ram homethe off-puttingly old-fashioned“moral” that, if you want to be acrime-fighting lawyer, being aparent is a bad idea — and beinga single mom, doubly so.>FORUMBOTTOM LINE Middling HongKong cop-vs-hitman thriller islet down by an excess ofcoincidence and sentiment.PRODUCTION: Emperor Classic FilmsCompany; Sil-Metropole Organisation.DIRECTOR: Dante Lam.>PERSPEKTIVEDEUTSCHES KINOBOTTOM LINE Efficient studyof a Berlin serial-killer hits itstargets with reasonableaccuracy.PRODUCTION: Grandhotel PicturesGmbH, Berlin. CAST: Ken Duken,Franziska Wiesz, Josef Heynert, JanUplegger, Karsten Mielke. DIRECTOR-SCREENWRITER: Thomas Sieben.Bauer, a 29-year-old publicparkgardener who seems tohave no friends, no family, nolife outside of work.Subject to consistent lowlevelbullying from his immediatesuperior Christian (JosefHeynert), Daniel goes about hisbusiness with automaton-likeefficiency, but we sense thetightening of internal coiledsprings. Much as in “AmericanPsycho,” Daniel’s frustrationsfind casual, homicidal release —his opportunistic urban spreestarting with a rock droppedfrom a highway bridge onto apassing car, then continuing viaa stolen hunting-rifle. Complicationsarise when co-workerJana (Franziska Weisz) startsmaking a move on good-looking,intriguingly self-containedDaniel, who finds himself inunfamiliar territory.“Distance” is more a matter ofcharacter-development andmood than plot, though a certaindegree of suspense does developin the latter stages when cops startsniffing around Daniel in connectionwith the spateof murders on their patch.The script treads a tricky linebetween dark psychologicaldrama and pitch-black humor,and Sieben’s control over hismaterial is such that it isn’t really aproblem that he breaks little newground. Crucially, Duken remainsengaging and watchable, evenwhen he’s doing nothing at all.And Sieben’s gambit of avoidingpat explanations of Daniel’sbehaviour pays dividends, whileCharlie Lezin’sbrisk editingensures that neitherindividualscenes nor themovie as a wholeoutstay theirwelcome. ∂For morereviews and afull list of castand creditsLos Angeles 323.525.2000 | New York 646.654.5000 | London +44.207.420.6139 | Beijing +86.139.1118.1756 | THR.com/berlin | day 525


day5_024_gay b 2/8/09 3:38 PM Page 26hot spotsMonday,THR.com/berlinFebruary 9 2009SchwulesMuseumand not necessarily turning away heterosexualguests, the clientele tilts toward thelesbian side. Thursday and Saturday areladies’ nights.Schönhauser Allee 157, 10435 Berlin, 0174-4026444; www.freizeitheim-berlin.deVielharmonieLocated on Berlin’s gay nightlife mile, theMotzstrasse, the Vielharmonie is one ofmany plush bars attracting homosexualtourists and locals alike. What distinguishesit from some competitors, however, is itsinnate sense of playful stylishness: bathedin pink light, with comfortable booths andelegant décor, it is a welcome departurefrom the chrome-and-leather or ’60s nostalgiadecors popular in this city. It’s certainlya good starting point for bar-hoppingalong the Motzstrasse, especially duringhappy hour (6 p.m. -9 p.m.) or Wednesdays,when it offers decent all-you-can-eatpasta for a mere €5. Vielharmonie can alsobe booked for parties of up to 70 people.www.vielharmonie-berlin.de; Mondayto Sunday. Open at 6 p.m.WHILE COLOGNE has long held the title of Germany’sgay capital — at least according to Conan O’Brien, whofilmed a segment there some years back — Berlin’s gay scenehas certainly not gone into hiding. With even straight discothequesattracting such a sizable gay crowd one might consider them convertedto the gay bars lining the Motzstrasse in Schoneberg, Berlinoffers many spots that make one remember all those tales from the‘20s — just that the decadence of those days has been replacedwith a less flamboyant, but still fun-loving attitude. Did I mentionthat Berlin’s mayor is gay?VagabundWhile not turning away straight guests, theVagabund has been a staple of Berlin’s gaynightlife for more than 30 years — eventhough it’s really more early-morning-life,with the owners openly mocking attemptsto establish regular closing times. Proudlylabeled an “Absturzladen” — a place wherecrashing drunkenly to the floor or leavingwith Mr. Right Now is not frowned upon —this gay cellar bar with dance floor hasplayed host to the likes of Curt Jurgens,Romy Schneider, Hildegard Knef and thelate Eartha Kitt.Knesebeckstr. 77, 10623 Berlin, 030-8811506; www.vagabund-berlin.deFreizeitheimThis micro-club in Prenzlauer Berg hasbeen a huge success with Berlin’s gay andlesbian crowd since its inception in 2002.Furnished in a retro ’60s and ’70s style andrun by restaurateur Dagmar Goldberg (whoserves her guests personally), Freizeitheimfeatures a wide variety of DJs and has seenits share of patrons dancing on the bar orjoining the quest for its own soccer cupcompetition. While labeled all-inclusiveSchwules MuseumQuite fittingly for a city thatwas the international centerof gay life in the ’20s, Berlinhas its own gay museumwith a sizable permanentcollection, homages dedicatedto gay personalitieslike Oscar Wilde, MarleneDietrich or Michel Foucault, anarchive documenting gay history,culture and everyday life as well as agay library. Bigger groups can book guidedtours outside regular opening hours.Mehringdamm 61, 10961 Berlin, 030-69 5990 50; www.schwulesmuseum.de; Daily 2p.m.-6 p.m., Saturday 2 p.m.-7 p.m. ClosedTuesday.Bar zum schmutzigen HobbyLoosely translated “Bar of the dirtyhobby” and run by local drag queen celebNina Queer, this small bar has attracted asizable share of celebrities over the years,including Rupert Everett, Wolfgang Joop,Benno Fuhrmann and Tara Reid. While itsdevotion to its owner goes a little overboard— the walls are plastered with photosof and articles about Berlin’s transvestiteanswer to Paris Hilton — there arebingo-evenings, a glamour quiz Wednesdaysat 9 p.m. and other fun stuff to makeup for its star(let) cult.Rykestrasse 45, 10405 Berlin ;www.ninaqueer.com; Daily from 6 p.m.— Karsten KastelanLos Angeles 323.525.2000 | New York 646.654.5000 | London +44.207.420.6139 | Beijing +86.139.1118.1756 | THR.com/berlin | day 526


day5_p2,27_n2 b 2/8/09 8:13 PM Page 2The Hollywood Reporter | Monday, February 9, 2009Pathe ‘LOL’-ing to bankPeaceBy Charles MastersPathe International hasclosed a string of deals atthe EFM on its markettitles, with more pending on itsfestival entries, the companysaid Sunday.Neil Marshall’s “Centurion”has pre-sold to Constantin inGermany, Aurum in Spain,Hopscotch in Australia, Scanboxin Scandinavia and Odeon inGreece. The ancient Britain-setactioner, which stars MichaelFassbender, will start principalphotography later this month.Pathe also sealed deals on“LOL (Laughing Out Loud)®,”directed by Liza Azuelos, withMediaset in Italy, Maywin for theCIS, Delphi in Germany and Altain Spain. The film opened inFrance last week on 430 screens,continued from page 2grossing €550,000 in its first twodays, the highest per-screenaverage of the top 10 films.Alta also has picked up MonaAchache’s “The Elegance of theHedgehog” from Pathe, with aGerman deal expected to be inplace before the end of the market.A German sale on Costa-Gavras’immigration tale “Eden Is West,”which screens closing night here,also is close, Pathe said.Pathe is in advanced negotiationsfor a Spanish sale onStephen Frears’ period romanticdrama “Cheri,” which screens incompetition Tuesday, followingearly sales on the film toLumiere for Benelux andNordisk for Scandinavia.Elsewhere on the Anglo-French company’s slate, JaneCampion’s “Bright Star” hassold to Japan. ∂more than 85% of the world’snuclear weapons and “we hadnot met for six years.” Eventually,peace broke out betweenthe two and Gorbachev wasinstrumental in the fall of theBerlin Wall.Independent to the Berlinalebut staged during it, Cinemafor Peace founder Jaka Biziljsaid there is no conflictbetween the two events despitethe fact Berlinale organizersasked the Peace people to limitits gala events.Also rocking up to talk CinemaPeace was former Pink Floydguitarist Roger Waters. The guitaristsexpressed a love of Iranianmoviemaker BahmanGhobadi and the emergence ofLatin American cinema.It wasn’t long before he wasranting about the Hollywoodstudios, too.“Hollywood seems to be tryingto maintain its strangleholdon movies with its formulaicrubbish,” Waters laughed. “Notall Hollywood movies are crap,just most of them.”The rock star staged Berlin’slargest ever concerts when heput on “The Wall Concert inBerlin” in 1990.Filmmaker Jeremy Gilley andOctogenarian actor ChristopherLee also showed up to supportthe event at the Adlon KempinskiHotel. ∂Waterscontinued from page 2day. I care about films almost asmuch as I care about food. Theyboth nourish me, physicallyand spiritually. They’re bothpowerful ways to communicateand, if you put the two together,you could really have anexplosions.”Waters is an outspoken advocateof local produce thatrespects the mantra of the SlowFood movement: good, cleanand fair. She welcomes the“I care about films almost asmuch asI care about food.They both nourish me,physically and spiritually.”— Berlinale competitionjuror Alice Waters| newsstrong position the Berlinale hastaken on food issues throughthe movies screening in theCulinary Cinema sidebar andelsewhere in the festival, suchas the documentaries “Food,Inc.” and “Terra Madre,” both ofwhich expose different aspectsof the corporate agri-business.“I think it’s so important thatwe educate our global populationabout food production, andthe more films that expose theunderside of globalized foodand agri-business and manipulation,the more likely it willturn pre-disposed people to realfood, to looking for it and payingfor it,” Waters said. “It’s soimportant that we pay the realprice for food.”She cites the success of foodthemedfilms like “Darwin’sNightmare,” the Austrian picture“Struggle” and “Our DailyBread” as examples of moviesthat have made a difference.“They were shocking to mewhen I saw them and I look atfood differently because ofthem,” she said. “I just saw ‘ThePrice of Sugar’ about plantationsin the Dominican Republic— I had no idea, it’s slavery.”She dismisses the idea that eatinghealthy, equitable food ismerely a luxury for the wellheeled. “People seem to be able tobuy television sets, cars, 10 pairsof Nike shoes, whatever,” she said.“Generally, we decide every daywhat we’re going to spend ourmoney on. I don’t think that we’rereally understanding the consequencesof the decisions that wemake about our food every day.Meanwhile, Waters hasanother wish during her time inBerlin. “I wish I could cook forthe jurors,” she said. “I’ve sortof planned it in my mind. I’mforaging, right now trying tothink of a time when we couldhave one of our meetings at alunch or dinner table.” ∂‘Done’continued from page 2Unified Pictures, the LosAngeles-based production,finance and international distributioncompany, is handlinginternational sales withDavid Lynch’s company,Absurda, and introducing thefilm at EFM.The film is loosely based onthe true story of a San Diegoman who experiences a series ofmystifying events that lead himto brutally murder his ownmother with a sword. ∂Los Angeles 323.525.2000 | New York 646.654.5000 | London +44.207.420.6139 | Beijing +86.139.1118.1756 | THR.com/berlin | day 527


day5_p1,28_n1 c 2/8/09 8:49 PM Page 3The Hollywood Reporter | Monday, February 9 2009| newsshooting starsSamuliVauramoNationality: FinnishBorn: Oct. 22, 1981Selected filmography:“Bunraku” (2009), “Tears ofApril” (2008), “Stone’sWar” (2008), “Beauty AndThe Bastard” (2005)Samuli Vauramo got his bigscreenstart as an extra on theOscar-nominated “The ManWithout a Past” from fellowFinn Aki Kaurismaki but hasmade his name playing thetough guy in action movies.And he already has picked uphis own nickname, “Sam theSlam,” for his willingness to take a beating in action scenes for GuyMoshe’s upcoming “Bunraku.”What has been your most challenging role to date?Playing a solider in “Tears of April,” which was physically the mostchallenging and also one of the best learning experiences I ever had.I play a solider in a civil war we had in Finland and for the shoot wedecided to use method acting. So for the entire shoot, I lived in a militarytent, I washed in the lake, which was maybe sixdegrees. I had to cook my own food, to chop my ownwood. It was all very authentic and true to the story.Do you think being a Shooting Star will help youget more roles outside Finland?I hope so. It’s a real challenge making films inFinland. We’re such a small country and we makemaybe 15 films a year. I’ve managed to get out a bit — I’vedone two Danish-language films. But it’s a struggle to getout of such a small community. I hope being a ShootingStar will help me get more work outside Finland. But I’malso just looking forward to meeting all the other Shooting Stars.One of the greatest things about this profession is that you get toknow so many different people.Would you like to try roles outside of the action genreyou’ve specialized in so far?Well, when you’re trying to get out to do internationalfilms, that’s the problem, the last thing you’ll getoffered is something you’ve never done before. Youalways get the stuff you’ve shown you can handle.For me that’s action and adventure. But I likeit. I’m trained in martial arts, I’ve been a solider, I do gymnastics.When I was a kid, I was watching James Bond on TVand I told my mum: “I want to do that when I grow up!” Andas it turns out, I get to do both — acting and action.How did you get your nickname?It was during the shooting of “Bunraku” from Guy Moshe. We wereshooting in Romanian and I have a small role in the film. When Igot the job, I promised the director I’d be able to do my ownstunts, without knowing what they were going to be. It turns outthey were falling down. A lot. On very hard surfaces. I got reallythrown around, again and again. But it impressed them, that Icould take it. And I got the nickname “Sam the Slam.”— Scott RoxboroughMangoldcontinued from page 1Globalcontinued from page 1Shock Doctrine,”is likely to confirmthe trend. The movie isbased on Naomi Klein’s book onthe cynical exploitation of warsand other catastrophes by globalcorporations and governments.In fact, movies related to thetheme of globalization dot theBerlinale lineup. The Earth’slimited resources and the threatto healthy food production practicesare examined in documentaries“Terra Madre” by ErmannoOlmi and “Our Children WillAccuse Us” from FrenchmanJean-Paul Jaud, both in CulinaryCinema. “Encirclement,” directedby Richard Brouillette andscreening in the Forum sidebar,is a look at how neo-liberalismensnares democracy.Documentary filmmakersAndy Bichlbaum and MikeBonanno brought their latestouting “The Yes Men Fix TheWorld” to open this year’sPanorama Documentary sectionto a packed house. The movie,co-directed by “Bowling forColumbine” editor KurtEngfehr, leads the viewerYes Men Andy Bichlbaumin spoof survival suit atpost screening q&a.working with name directors asthey build their film slate.The story revolves around twoNew Orleans brothers who aslawyers take on one of the world’slargest oil companies and mostprestigious law firms as they fightto represent the families of victimsof an oil rig which sank in theSouth China Sea in a typhoon.Producer-turned-writerCasey La Scala (“Grind”) andactor-turned-writer Sasha Jensonpenned the screenplay. Theduo discovered the story, flew toNew Orleans to obtain the liferights, then brought it to Mangoldand Konrad. After gettingMangold’s attachment, thewriters brought it to Bold.Bold’s Michel Litvak and DavidLancaster will also produce. Theexecutive producers are GaryMichael Walters and La Scala.Bold’s worldwide sales on thefilm are being handled byStephanie Denton, president ofworldwide distribution, and JimHarvey, executive vp internationalsales. ∂through a series of politicalhoaxes pulled off by Bichlbaumand Bonanno in a bid to highlightthe greed and brutal selfishnessof some of the world’sbiggest and most powerfulmultinational corporations.Bonanno said it was up tofilmmakers or “out-of-powerpeople to fight people in powerwho abuse it.”But it is not just docs that arereflecting concerns about globalizationissues. Lukas Moodysson’scompetition title “Mammoth”depicts the interdependencebetween the privileged wealthy inthe West and the struggling poorin the developing world, whosefate is often brutal.Tom Tykwer’s Berlin opener,“The International,” tackles a fictionalizedworld of global bankingwith involvement in armsdealing to better manipulate debtin the developing world.Another intriguing little filmscreening in the market here isthe odd-ball black comedy“Louise-Michel,” directed byGustave de Kervern and BenoitDelepine, in which a group oflaid-off factory workers decide topool their meager redundancymoney to hire a hit man andwhack the company boss. But theworkers’ response to the brutalityof capitalism does not go accordingto plan when the hit manturns out to be a inept trans-sexual.The film has done solid businessin France and sales outfitFunny Balloons has sold the titleto more than 20 countries.“The film’s success is inpart because it arrives at theright time and people canidentify with it. It is entertaining,but it also has a contextand deals with a topicthat affects everyone thesedays,” said Peter Danner, headof Funny Balloons. ∂Los Angeles 323.525.2000 | New York 646.654.5000 | London +44.207.420.6139 | Beijing +86.139.1118.1756 | THR.com/berlin | day 528


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