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DAY6_001_EDIT_news1 2/11/08 8:50 PM Page 16daythr.com/berlindailythefrom BerlinTuesday, February 12, 2008Heat is on for dealmakersBy Liza Foremanand Stuart Kemp“Happy-Go-Lucky”Straight talkfrom Padilhaabout ‘Elite’“ E l i t eSquad” directorJosé Padilhamade a callfor drugs tobe legalizedand suggestedthat the Brazilianpolicemight havePadilhabeen responsiblefor the infamous piracy incidentthat propelled “Elite” to thetop of the Brazilian boxoffice.Speaking to a roomful of journalistsMonday at a Berlin InternationalFilm Festival news conference,Padilha said that thepolice might have been trying toseek revenge for the film, whichshows mass corruption and violencewithin the force and is narratedby an officer of Brazil’s socalledElite Squad.Before the gathering, journalistsattended a chaotic screeningof the Portuguese-languagecompetition title, which wasSee BRAZIL on page 22Sony aces ‘Tennis’; Miramax gets ‘Lucky’By Stuart KempJohn MacDougall/AFP/GETTY IMAGESDirector José Padilhais flanked by starsWagner Moura andMaria Ribeiro.‘Elite Squad’In José Padilha’s crude and violent film“The Elite Squad,” the pope is visitingRio de Janeiro and he needs a goodnight’s sleep, so the local police commandersends his crack troops into theclosest slum to kill everybody.Well, not everybody, but all the drugdealingscum his specially trained officerscan find and by any means possible, preferablya high-powered rifle. It means therewill be blood and lots of it, all captured bya dizzying hand-held camera racingSee “ELITE SQUAD” on page 22Before the fireworks, therealways has to be a long slow-burningfuse but after a slow start forthis year’s European Film Market,the wheeling and dealing explodedwith some high profile deals.A brace of deals lit up the marketwith GreeneStreet Films dueto announce a North Americanrights deal to “Gary the TennisCoach,” directed by Danny Leinerand starring Seann WilliamScott and Dennis Quaid to SonyPictures. A bawdy high schoolcomedy details the life of a janitorturned tennis coach.BYRAYBENNETTCompetitionreviewthe bottom lineA clumsy butfast-pacedaction film aboutkiller cops.And titles appearing in Competitionhere are also shifting off theshelves with Mike Leigh’s “Happy-Go-Lucky”expected to go toMiramax Films in the six-figurerange for U.S. rights. Leigh himselfdescribed his latest movie as alight hearted comedy drama.See SALES on page 23Amenabar’smystery picbuilds buzzBy Charles MastersOscar-winningdirectorAlejandroAmenabar’sforthcominghistorical picture,which isgearing up foran epic shootin Malta,Amenabarremainedshrouded in mystery Monday.Those involved in the film,understood to be the Spanishdirector’s second English-languageeffort after “The Others,”were declining to confirmeither the film’s title, key cast orif a U.S. studio is on board. Thisdespite the fact that the shoot isexpected to start in barely a fewweeks and run for a hefty four-See AMENABAR on page 22dialoguewith Mike LeighSee page 6

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DAY6_003_EDIT_news2 2/11/08 8:21 PM Page 3Day 6 Tuesday, February 12, 2008newsBerlin daily editionEFM Business OfficesOffice #520Potsdamer Platz 11+49 (0) 30.2589.4908+49 (0) 30.2589.4909JOHN KILCULLENPublisherERIC MIKASenior VP, Publishing DirectorELIZABETH GUIDEREditorE D I T O R I A LDAVID MORGANDeputy EditorSTUART KEMPUK Bureau ChiefSCOTT ROXBOROUGHGermany Bureau ChiefCHARLES MASTERSFrance CorrespondentBORYS KITSenior Film ReporterLIZA FOREMANFilm ReporterKAREN NICOLETTIOnline News EditorPATRICK HIPESCopy Desk ChiefR E V I E W SKIRK HONEYCUTTChief Film CriticRAY BENNETTReviewerMAGGIE LEEReviewerA R T + D E S I G NDEEANN J. HOFFDirector – Art+DesignJACKIE VUONGSenior DesignerA D V E R T I S I N GTOMMASO CAMPIONEInternational Executive DirectorALISON SMITHInternational Sales DirectorLUCA VASILEInternational BusinessDevelopment DirectorDAMJANA FINCIAcccount ManagerIVY LAMAsia Sales & Marketing ManagerANDREW GOLDSTEINAcct. Manager, Independent FilmsNINA PRAGASAMInternational Marketing MangerO P E R A T I O N SGREGG EDWARDSSenior Production ManagerCopyright ©2008 Nielsen Business Media, Inc. Allrights reserved. No part of this publication may bereproduced, stored in any retrieval system or transmitted,in any form or by any means — electronic,mechanical, photocopying, recording or otherwise —without the prior written permission of the publisher.Printed in Berlin: Druckerei DMP, ZerpenschleuserRing 30, 13439 Berlin, Germany, Tel. 530 08-0 •Fax 530 08-201Karen NicolettiKölmel sitting pretty after saleRetains control of film production, pay TV unitsBy Scott RoxboroughKinowelt founder MichaelKölmel is known more for hisfinancial acumen and deal-makingskills than for his emotionalexuberance. But Kölmel, whooversaw the rise, fall and rebirthof the German indie giant andrecently sold the company toStudio Canal for €70 million,can’t help looking a mite pleasedwith himself.The Studio Canal deal handsover Kinowelt’s impressive filmlibrary, its German distributionoperations and its internationalrights business. Michael and hisbrother Rainer Kölmel willretain control of their GermanFormer VIP chief Andreas Schmidexpects a final ruling this year.By Liza ForemanThe phone line to the formerGerman distribution heavyweightHelkon Media rangdead as a doornail. The publicistat rival shop Senator had neverheard of Hanno Huth. But thenwhy should she? The long-termowner of the Berlin-based filmfilm productionoperationsthe company’spay-TVchannel andthe controllingstake inMunich-basedrights groupM. Kölmel Intertainment.TheKölmels will also hold on topublishing and retail operationZweitausandeins.“For Studio Canal, my brotherand I will continue to work inthe way I have for the past fewyears with Kinowelt’s management,that is as advisors and onthe acquisitions side,” MichaelBy Scott RoxboroughThe rehabilitation of AndreasSchmid, former head of Germanfilm fund VIP, has officiallybegun.The one-time financier, whohas spent the last two years in aMunich jail and was sentenced inDecember to six years in prisonfor tax evasion, is out on bail andshowing his face at the BerlinInternational Film Festival.“I put on a few pounds (injail) but otherwise I’m fine,”Van Dülmen Haffa Martin D’AmicoGerman biz recalls ‘rough ride’company had long left behindthe world of celluloid. And he’snot the only one.Like many of the formergiants of the German film businesswho were buoyed to newheights by listings on the erstwhileNeuer Markt stockexchange in the mid- to lateSee GERMANY on page 21Kölmel told The HollywoodReporter at the Berlin InternationalFilm Festival. “For our(local-language) productions wewill have a housekeepingarrangement with Studio Canalto release them in Germany.”Kinowelt’s latest in-houseproduction, the Dominik Wesselydocumentary “ReverseAngle — Rebellion of the Filmmakers”had its world premierein Berlin on Monday night. Thefilm, which Rainer Kölmel produced,looks at the groundbreakingwork of New GermanCinema directors such as RainerWerner Fassbinder, VolkerSchlöndorff and Wim Wenders.See KÖLMEL on page 21Tarnished exec returnsVIP’s Schmid reconnects at festSchmid told The HollywoodReporter. “We are expecting(the court’s) written judgmentin the next 2-3 weeks and thenwe will have four weeks to submitour appeal. We expect a finalruling by November or Decemberat the earliest.”Until then, Schmid is quietlyworking to smooth ruffledfeathers at VIP, talking in anunofficial capacity to the VIPboard and shareholders.“Things just need to calmdown a bit so we can move forward,before it becomes impossible,”Schmid said. “I think thefocus should be clearly on distribution,exploiting the rights tothe (40-odd) films in our libraryand not on investing in new, bigproductions.”VIP is currently locked in alegal battle with London financierBrass Hat Films over a dealset up by Dirk Specht, Schmid’sSee SCHMID on page 21inside >>> >>>>Reviews . . . . . . . . . . . . .8Festival Screenings . . .10Market Screenings . . .12Shooting Star . . . . . . . .16Berlin Culture . . . . . . . .20more news at thr.comthr.com | los angeles 323/525-2000 | new york 646/654-5000 | london 44/207-420-6139 | beijing 86/10-6512-5511 (ext. 121)3

DAY6_004_EDIT_digest c 2/11/08 8:43 PM Page 4Day 6 Tuesday, February 12, 2008newsGerman criticsgo with ‘Yella’for best filmBy Scott RoxboroughChristianPetzold’s“Yella” wasnamed thebest filmMonday nightat GermanFilm Critics’Awards here.The director’spsycho-Petzoldlogical drama about a womanpursued by a violent past premieredlast year at the BerlinInternational Film Festival,where star Nina Hoss won thebest actress Silver Bear.The film also took the cinematographyaward for cameramanHans Fromm.German critics also pickedMaren Kroymann for its bestactress prize for her performancein Angelina Maccarone’s“Verfolgt.” Ulrich Noethentook the best actor nod for hiswalk-on role as SS head HeinrichHimmler in the Dani Levycomedy “Mein Führer: TheTruly Truest Truth About AdolfHitler.”Pia Marais picked up the bestdebut film prize for her comingof-agedrama “Die Unerzogenen,”and Ulrike Ottinger wonbest documentary for “Prater,”which looks at the history ofamusement parks. •Tipping pointwith VIP voteBy Scott RoxboroughThe ongoing legal battlebetween London film financierBrass Hat and Germany’s VIPover the remaining cash in VIP’sfilm funds could prove a mootpoint.Brass Hat signed a deal in2007 with then-VIP head DirkSpecht to take over managementof the some $110 millionremaining in the Germangroup’s VIP 4 fund. VIP’s currentboss, Peter Riedel, hasrefused to approve the deal, andthe two companies are fightingit out in the German courts.See VIP on page 23Costa-Gavras stretches his WebEyes online movie directory to compete with IMDbBy Charles MastersBallyhoo over BollywoodGermany is proof genre has legsBy Mira Advani“Maybe I’m German sincethe people here like me somuch. I can’t explain it any otherway,” India megastar ShahRukh Khan quipped about theBollywood and King Khan frenzysweeping not just Berlin butalso Germany.“You don’t need to sit downand understand a film, you haveto make cinema that is felt,” heCosta-GavrasBerlinale jury president Costa-Gavras,in his role as presidentof the Cinematheque Francaise,is hatching plans to launch aEuropean counterpart to onlinemovie directory IMDb.The initiative was presentedto the Paris-based Cinematheque’sboard at a recent meetingand was approved in principle,although details have yet to behashed out.“We’re studying the feasibility,”Costa-Gavras said. “We haveformed a committee. I think insix months, when I’ve finishedmy next film, we will have decidedhow to go about it.”The initial feasibility committeeis currentlyall French, butthe idea is towiden theproject out toother Europeanpartnerarchives. TheGreek-bornwriter-directorsaid the onlinedirectory would be in atleast three languages — French,English and one other as yetundecided — and the projectwould be led by the CinemathequeFrancaise.Costa-Gavras said IMDb’slisting of international and historictitles is incomplete. “A lotof countries aren’t listed onStars of all stripesA large supply of talented young actors was in one placeMonday for the annual Shooting Stars luncheon at theKaisersaal on Potsdamer Platz, where the group met the press.Marcel Mettelsiefen/GETTY IMAGESsaid. “I think the Germans arefeeling it.”Police vans and securityguards flanked the InternationalTheater on Friday when Khanwalked the red carpet as the premiereof his film, “Om ShantiOm,” screened as a BerlinaleSpecial selection. Fans who hadlined up for hours broke into thefilm’s song and dance numbersnot only along the red carpetSee BOLLYWOOD on page 23IMDb. My idea is to makesomething as comprehensive aspossible starting with the originsof cinema,” he said. “I think wehave to find a way to create amajor dictionary of directors,actors and producers from thewhole world and put it on-lineso there is an accurate tool.“The study phase has justbegun so there’s no more detailyet on how it will work. It’s agreat initiative but quite hard toput in motion for any institution,”said Laurence Plon, directorof communication at theCinematheque Francaise.The online directory is justone of the initiatives being studiedat the Cinematheque underSee WEB on page 23Disney joinsd-cinema clubwith AAMBy Stuart KempWalt Disney Studios Internationalon Monday became thelatest company to join the growinggroup of studio-ownedoverseas releasing arms to signup for a digital-print distributionfuture.Disney sealed a nonexclusivelong-term deal with physicaldigital service provider ArtsAlliance Media to forge a pact tosupply movies in digital format.The parties announced the dealin London.Disney’s overseas arm joinsSony Pictures Releasing International,Paramount PicturesInternational, 20th CenturyFox and Universal PicturesInternational in pledging itscommitment to the digital theatercause. It just leaves WarnerBros. from the majors to sortout its terms.Under the agreement, Disneyhas pledged to supply its films“across Europe” in digital formatto AAM-deployed, DCI-compliantdigital-cinema screens.The releasing arm also haspledged to “make provisionalcontributions towards the digitalcinema hardware costs ofAAM-deployed DCI-compliantscreens.”•thr.com | los angeles 323/525-2000 | new york 646/654-5000 | london 44/207-420-6139 | beijing 86/10-6512-5511 (ext. 121)4

Last year... Anthony Hopkins, Masahiro Kobayashi,Robert Rodriguez, Hou Hsiao-hsien, Frank Oz, Carmen Maura,Mike Leigh, Michel Piccoli, Romuald Karmakar, Jia Zhang-ke,Fredi M Murer, Daniele Luchetti, Anna Mouglalis, ChristianSlater, Hiner Saleem, Gaston Kaboré, Corso Salani, PauloRocha, Chris Fuller, Mijke de Jong, Benedek Fliegauf, MarcoTullio Giordana, Nikki Blonsky, Bruno Todeschini, AdrianSitaru, Eugène Green, Tobias Nölle, Dario Fo, Lita Stantic,Kenneth Bi, Bertrand Bonello, Christopher Buchholz,Alina Marazzi, Denis Lavant, Lech Kowalski, Nina Menkes,Jacob Berger, Diego Lerman, Adam Shankman, SaverioCostanzo, Rose McGowan, Denis Côté, Jaycee Chan, IrèneJacob, Michele Venitucci, Shaji N Karun, Jaime Marques,Laurent Lucas, Fumihiko Sori, Philippe Ramos, VittorioRifranti, Carole Laure, Martin Gypkens, Andy Serkis, LailaPakalnina, Noh Dong-seok, Mylène Demongeot,Aktan Abdikalikov, Khalil Joreige, Marian Alvarez, WalterCarvalho, Samuel Benchetrit, Kornél Mundruczó, Raja Amari,Maya Sansa, Robert Guédiguian, Ulrike von Ribbeck, AmorHakkar, Matías Bize, Vanessa Beecroft, István Szabóand many others … Join us this year!Locarno_D6_02_12_08.indd 12/8/08 11:14:39 AM

DAY6_006_EDIT_diaLeigh c 2/11/08 3:34 PM Page 6Day 6Tuesday, February 12, 2008Writer-director Mike Leigh enjoys taking hismovies to festivals but hasn’t made it into thecompetition lineup at Berlin before now, with “Happy-Go-Lucky.” Having enjoyed success at all the majorEuropean shindigs, the three-time Oscar nomineetalks to The Hollywood Reporter U.K. bureau chiefStuart Kemp about writing good parts for women,making a movie about love and why cinema willalways be his first love.The Hollywood Reporter:The title “Happy-Go-Lucky”sums up the nature of your leadcharacter. You normally beginshooting with no title. Howquickly did this one appear aftershooting began?Mike Leigh: The title is alwaysthe last thing finalized on any ofmy films. The deadline for thetitle is usually when the manfinalizes the titling. The heart ofthe film and the look and themusic are all motivated andmade for the central character,who is very optimistic and caring.The look of the film is veryspecial too — it’s the first filmwe’ve made which is widescreenand is shot on a new kind of filmstock (manufactured) by Fujiwhich highlights primary colors.In a way, “Happy-Go-Lucky” isa kind of positive version of thenegative “Naked” I made.THR: You cast Sally Hawkins asyour lead, an actress you’veworked with before. How did shehandle being the main character?Leigh: She handled it fantastically.I wouldn’t have contemplatedher for a film with a central characterif I had any doubts. I knewit had to happen from when I firstworked with her. She’s done a lotof very impressive work elsewhere,and she turns in an amazingperformance here.THR: What can you tell usabout Alexis Zegerman, whomore onlineMore dialogue withMike Leigh atTHR.com/berlinalso has a main role?Leigh: She did my play “TwoThousand Years” at the National(Theatre, in London) two yearsago and plays a very importantpart in “Happy-Go-Lucky.” Shedelivers an amazing performance.THR: You’re also re-unitedwith “Vera Drake” actor EddieMarsan. What is it about workingwith a coterie of regulars you like?Leigh: He gives what I think isan extraordinary performance in(“Happy-Go-Lucky”). Thething is for all my films and notleast for “Happy-Go-Lucky,” thecasts are filled with actors I havenot worked with before. Thereare some brilliant performancesfrom other people I haven’tworked with before in my latestfilm, so I think the word coterieis a little bit inappropriate. It’smore a family. If I work withsomeone I think is good andenjoy working with them, then Icome back to them. The mainthing is never to do the samething twice.THR: “Happy-Go-Lucky” is astory about a young womanmaking her way through thechaotic modern world. Do youfind writing and directingwomen easier than men?Leigh: I try and film storiesabout people. I do, as a supplementaryagenda, make sure thereare good parts for women in myfilms. I don’t think there areenough good parts for women infilm. My job is to make interestingstories and create fine meatyparts for everyone in my films.THR: How do you feel abouthaving a competition slot here?Leigh: It’s great. I’ve beenbefore with “Meantime” and“Life Is Sweet” but never in competition,so it’s very good news.We’ve been very successful inCannes and Venice in the past, soI am looking forward to Berlin.Some people may find (“Happy-Go-Lucky”) too light and trivialfor Berlin, but it has depth.THR: Your play “Two ThousandYears” just opened in NewYork. Do you have a preferencebetween filmmaking and playshaving established yourself inboth artistic fields?Leigh: My first love is filmmaking,no question about it. Havingsaid that, I did “Two ThousandYears” at the National, andI want to go back and do somethingelse with (artistic director)Nicholas Hytner there. Iam concerned with theater andit is part of my life. But it’s thenature and spirit of cinema thatI love first.vital statsMike LeighNationality: BritishDate of birth: Feb. 20, 1943Film in Berlin: “Happy-Go-Lucky”Sected filmography: “Vera Drake” (2004), “All or Nothing”(2002), “Topsy-Turvy” (1999), “Career Girls” (1997), “Secrets &Lies” (1996), “Naked” (1993), “Life Is Sweet” (1990)Notable awards: British Academy Film Award best director, “VeraDrake” (2005); Venice Film Festival Golden Lion, “Vera Drake”(2004); British Academy best British film and best director,“Secrets & Lies” (1997); Festival de Cannes Palme d’Or, “Secrets &Lies” (1996) and best director, “Naked” (1993); Festival de Cannesjury prize, “Hidden Agenda” (1990); Berlin International Film FestivalReader Jury of the “Zitty” Award, “Meantime” (TV, 1984)thr.com | los angeles 323/525-2000 | new york 646/654-5000 | london 44/207-420-6139 | beijing 86/10-6512-5511 (ext. 121)6

TelewizjaPolsk_D6_02_12_08.indd 12/8/08 3:50:16 PM

DAY6_008_EDIT_rev1 2/11/08 5:11 PM Page 8MORE REVIEWS INSIDE: “Hey Hey It’s Esther Blueburger,” page 17 > “Revanche,” page 18 >“Love and Other Crimes,” page 18 > “Just Anybody,” page 19 > “Sooner or Later,” page 19THR.com/berlinDay 6 Tuesday, February 12, 2008PARK CITY — In“Ballast,” threepeople strugglemightily against oneanother and againsttheir own worstinstincts, bred out ofdeep distrust and badmemories, to reach akind of equilibriumwhere they might livecalm, productive lives.Lance Hammer’s featuredebut is gutsy —gutsy for whathe wants to achieveand for how he goesabout it.The film is set in bleakcircumstances in a bleak townshipand comes at viewers in astyle more familiar to Europeanart house patrons than Americanmoviegoers. Finally, few whitefilmmakers, even veterans, haveportrayed a black experiencewith so little self-consciousnessas Hammer.“Ballast” necessarily limitsCompetition‘Ballast’reviewBYKIRKHONEYCUTTthe bottom lineAn impressiveand courageousfilmmaking debutthat screamsSundance forall the rightreasons.itself to festival play andtheatrical showings forthose eager to catch anew and clearly talentedfilmmaker’s first work.The film played in dramaticcompetition atSundance before comingto Berlin.The film, which Hammerwrote, directedand edited, has anaustere, rigorous yetfully engaged aesthetic.Opening credits don’tget more minimal thanthis: During an initialsequence, only the word“Ballast” appears onscreen.Scenes that follow are short andto the point. Editing compactsthe time even within thesescenes. Angles are carefully chosen.Only ambient sounds andno music appear on the soundtrack.Characters speak, at leastinitially, more with body languagethan dialogue.In the rural Mississippi DeltaBALLASTIFCAlluvial Film Co.in the bitter cold of winter, asuicide throws a delicate balanceamong three people out ofwhack. After sitting with thebody for an unknown time,Lawrence (Michael J. SmithSr.) shoots himself in despairover his twin brother’s death.When he comes home fromthe hospital, he doesn’t evenbother to reopen a small conveniencestore he operated withhis twin.For the brother’s 12-year-sonJames (JimMyron Ross) and hislong-estranged girlfriend orwife, Marlee (Tarra Riggs) —the movie is vague about this —the death might have this blessing:At the last minute, thebrother wrote a letter giving themother and child the house theylive in. Lawrence pins the noteon their front door.But the legality of the note isunclear. And how Marlee wouldsell the house is even less clear.Hammer slyly shoots the earlyscenes to disguise a key fact:Lawrence and Marlee’s housesoccupy the same property withan imaginary Berlin Wallbetween them.James is getting in over hishead with drugs and the wrongpeople. But he is still a kid atheart. Marlee, who is surprisinglyunaware of this, works longhours scrubbing toilets and stillhas little money. Her hatred forher ex extends to the brotherwho looks exactly like him.The situation causes a necessarybreach in the wall, but onlyanimosity and recriminationsensue. James likes pointingLawrence’s gun, which he stole,at his uncle whenever hedemands money. Lawrencedoesn’t much care if he shoots.Hammer gradually lets aglance of sunlight into thegloom, but its power can’t bechecked. The three have nochoice but to deal with oneanother. It’s not easy, and thefinal note is not that of peace butof a tenuous truce.Working with non-pro actors,Hammer pulls authentic performancesfrom the trio that areat times almost too painful towitness. The hurts run deep.The bullet hole in Lawrence’schest is nothing compared tothese wounds. And yet “Ballast”is an optimistic film: The sunfinally does break through.Credits: Director-screenwriter-editor: Lance Hammer; Producers: Lance Hammer, NinaParikh; Executive producers: Andrew Adamson, John J. Hammer, Mark Johnson, Aimee Shieh;Director of photography: Lol Crawley; Production designer: Jerel Levanway; Costume designer:Caroline Eselin. Cast: Lawrence: Michael J. Smith Sr.; James: Jim Myron Ross; Marlee: TarraRiggs; John: Johnny McPhail.No MPAA rating, running time 96 minutes.thr.com | los angeles 323/525-2000 | new york 646/654-5000 | london 44/207-420-6139 | beijing 86/10-6512-5511 (ext. 121)8

Screenings (Market debut)08.02. 09:30 CinemaxX Studio 1813.02. 16:45 CinemaxX Studio 14PERSONAL BELONGINGSby Alejandro BruguésCUBA2007FEATURE92 minsIN BERLINMartin Gropius Bau STAND 124Parque de las Estrellas # 2755col. Jardines del Bosquec.p. 44510Guadalajara Jalisco Méxicolatinofusion@latinofusion.com.mxwww.latinofusion.com.mxLatinoFusionD6_02_12_08.indd 12/8/08 5:07:22 PM

DAY6_010_festSG c 2/11/08 12:36 PM Page 10festival festival festival festival festivalDay 6 Tuesday, February 12, 2008 (E) = English; (D) = German; Competition films in blue>>> today9:00 Flower in the Pocket,Malaysia, 97 mins, GenerationKplus, CinemaxX 3 (E); Dunya& Desie, Netherlands-Belgium,98 mins, Generation 14plus,Babylon Berlin (E)9:30 The Elite Squad, Brazil-Argentina, 118 mins, Competition,Urania (E); ShortFilms Kplus 1, Generation KplusShort Film, Zoo Palast 110:00 Where is Winky’sHorse?, Netherlands-Belgium,83 mins, Generation Kplus,Cubix 8 (E); God Man Dog,Taiwan, 119 mins, Forum, Cine-Star 8 (E)10:30 What No One Knows,Denmark-Sweden, 99 mins,Panorama Special, CinemaxX7 (E)11:15 Trade — Welcometo America, Germany, 119mins, German Cinema,CinemaxX 1 (E)11:30 September, Australia, 85mins, Generation 14plus, BabylonBerlin12:00 Full Battle Rattle, U.S., 92mins, Panorama Dokumente,CineStar 7 (E); Sparrow, HongKong-China, 87 mins, Competition,Urania (E); ShortFilms Kplus 2, Generation KplusShort Film, Zoo Palast 112:30 Just Anybody, France-Belgium, 121 mins, Forum, Arsenal1 (D)12:45 Slingshot, Philippines, 86mins, Forum, Cubix 7 (E);Yasukuni, Japan-China, 123mins, Forum, CineStar 8 (E)13:00 La ilusion viaja en tranvia,Mexico, 82 mins, Retrospective,CinemaxX 8 (E); InBetween Days, Germany, 104mins, Perspektive DeutschesKino, Colosseum 1 (E); Beautiful,South Korea, 88 mins, PanoramaSpecial, CinemaxX 7 (E)13:30 The Vow, Germany, 92mins, German Cinema, CinemaxX1 (E)14:00 Revanche, Austria, 121mins, Panorama Special, International(E); Secrets Behind“Buddha CollapsedOut of Shame”the Wall, Japan, 75 mins,Forum, Delphi Filmpalast (E);Berlinale Shorts III, BerlinaleShorts Competition, CinemaxX 614:30 East/West — Sex & Politics,Germany, 97 mins, PanoramaDokumente, CineStar 7 (E);Guilty, France, 107 mins,Panorama, Cubix 9 (E)15:00 La joven, Mexico-U.S.,95mins,Retrospective,Zeughauskino;The Infinite Border, Mexico,90 mins,Forum,Cubix 7 (E); Lahija de Juan Simon, Spain,72mins,Retrospective,CinemaxX 8(D); Cherry Blossoms — Hanami,Germany, 122 mins, Competition,Urania (E); DerZauberberg, Germany,153 mins,Rebellion of the Filmmakers,filmkunst 6615:15 W.R. — The Mysteriesof Organism, Yugoslavia-Germany,80 mins, Forum, Arsenal1 (E)15:30 Heavy Metal In Baghdad,U.S., 84 mins, PanoramaDokumente, Colosseum 1 (E);Buddha Collapsed Out ofShame, Iran-France, 81 mins,Generation Kplus, Zoo Palast 1(E); Be Like Others, U.S.-Canada-Iran,74 mins, Forum, CineStar8 (E); Go West! A Lucky LukeAdventure, France, 89 mins,Generation Kplus, Cubix 8 (E);The Heart is a Dark Forest,Germany, 83 mins, German Cinema,CinemaxX 1 (E)16:00 Night and Day, SouthKorea, 145 mins, Competition,Berlinale Palast (D); OneHand on Open, Germany, 80mins, Forum expanded,Arsenal2; Short Films Kplus 3, GenerationKplus Short Film, CinemaxX 316:30 Citizen Havel, CzechRepublic, 120 mins, Forum, DelphiFilmpalast (D)17:00 L’age d’or, France, 63mins, Simon del desierto,45mins, Mexico, Retrospective,Zeughauskino; Munyurangabo,U.S.-Rwanda, 97 mins, Generation14plus, Babylon Berlin (E);The Beauties From Leipzig,Germany, 90 mins, PanoramaDokumente, CineStar 7 (E); Loveand Other Crimes, Germany-Serbia-Austria-Slovenia, 106 mins,Panorama Special, Cubix 9 (E);Soul of a Demon, Taiwan, 122mins, Panorama Special, International(E)17:30 Fighter, Denmark, 90 mins,Generation 14plus, Colosseum 1(E); Wine and Cupcakes, U.S.,12 mins, Berlinale Special ShortFilm, 1000 Journals, U.S., 88mins, Berlinale Special, Cubix 7;Asyl — Park and Love Hotel,Japan, 111 mins, Forum, CineStar8 (E); Corridor #8, Bulgaria, 74mins, Forum,Arsenal 1 (E); Nothingbut Ghosts, Germany, 116mins, German Cinema, CinemaxX1 (E); Die Gezeichneten,Germany, 96 mins, RetrospectiveSpecial Event, CinemaxX 817:45 Ta, Brazil, 5 mins, PanoramaSupporting Film, AnotherLove Story, Brazil-France-Uruguay, 105 mins, Panorama,CineStar 318:00 Heaven’s Heart, Sweden-Denmark,95 mins, BerlinaleSpecial, Cubix 8 (E); In the Yearof the Pig, U.S., 103 mins, War atHome, Filmpalast Berlin18:30 Cherry Blossoms —Hanami, Germany, 122 mins,Competition, Urania (E)19:00 Heroes From the Neighborhood,Germany, 90 mins,Perspektive Deutsches Kino, CinemaxX3 (E); Sleep Dealer,U.S.-Mexico, 90 mins, PanoramaSpecial, Zoo Palast 1 (E)19:15 Victoire Terminus, Kinshasa,France-Congo, 80 mins,Forum, Delphi Filmpalast (E)19:30 Ensayo de un crimen,See FESTIVAL on page 15thr.com | los angeles 323/525-2000 | new york 646/654-5000 | london 44/207-420-6139 | beijing 86/10-6512-5511 (ext. 121)10

CinemaBrasil_D6_02_12_08.indd 12/7/08 12:18:21 PM

DAY6_012_mktSG c 2/11/08 1:02 PM Page 12market market market market marketDay 6 Tuesday, February 12, 2008 (E) = English; (D) = German; Competition films in blue>>> today9.00 Autumn Ball, Estonia,123 mins, Estonian Film Foundation,CinemaxX 19; GreatWorld of Sound, U.S., 106 mins,Elephant Eye Films, CinemaxX 4;Help Me Eros, Taiwan, 103mins, Fortissimo Films, CinemaxX13; Jack and Jill vs. theWorld, U.S., 92 mins, Myriad Pictures,CinemaxX 8; Max Minskyand Me, Germany, 94mins, Delphis Films, CineStar 6;Oscar. The Color of Destiny,Spain, 97 mins, El Retiro Producciones,CinemaxX 11; Sunniand the Elephant, France, 92mins, StudioCanal, CineStar 4;The Hideout, Italy, 104 mins,Visual Factory, CinemaxX 15;The Story of Leo, Italy, 81 mins,Adriana Chiesa Enterprises,CineStar 1; The WaitingRoom, U.K., 96 mins, MaximumFilms International, CineStar 2;50 Dead Man Walking PromoReel, U.K., 23 mins, HandmadeFilms International, Martin-Gropius-Bau09.15 Billy Bang’s RedemptionSong, France, 90 mins,WideManagement, CineStar 5; Lavie d’artiste, France, 110 mins,Films Distribution, CinemaxX 16;Os desafinados, Brazil, 128mins,Vereda Filmes, Marriott 1;Sympathy, U.S., 105 mins, ShorelineEntertainment, Marriott 309.30 A Secret, France, 110mins, UGC International, CinemaxX14; Black Ice, Finland,100 mins, Bavaria Film International,CineStar 7; Café de losMaestros, Argentina, 90 mins,Pathé International, MGBKinosaal; The Three Robbers,Germany, 75 mins, Wild Bunch,Arsenal 1; Die Tunisreise,Switzerland, 75 mins, Paul ThiltgesDistributions, Marriott 2;Fireflies in the Garden, U.S.,120 mins, Essential Entertainment,CinemaxX 2; Kolmistaan,Finland, 94 mins, FinnishFilm Foundation, CinemaxX 12;Le ring, Canada, 87 mins,Christal Films Distribution, CinemaxX10; No Network, Iceland,83 mins, Icelandic FilmCentre, CinemaxX 1; Quemarlas naves, Mexico, 90 mins,Imcine, CinemaxX 18;Revanche, Austria, 121 mins,the Match Factory, CinemaxX9; Theft, U.S., 93 mins, Silly BunnyPictures, Parliament; Two LivesPlus One, France, 90 mins,Rezo Films International, CinemaxX609.45 Summer of the FlyingSaucer, Ireland, 86 mins, Telepool,Arsenal 210.00 Flipping Out, Israel, 83mins, Cinephil, CinemaxX 510.30 Modern Love, France, 92mins, Pathé International,CineStar 110.45 Buy Borrow Steal, Germany,96 mins, Atrix Films, Cine-Star 2; Go With Peace Jamil,Denmark, 90 mins, Trust FilmSales, CineStar 6; Pathology,U.S., 95 mins, Lakeshore EntertainmentGroup, CineStar 4;College, U.S., 94 mins, MandateInternational, CinemaxX 811.00 Hotel Meina, Italy, 110mins, Rai Trade, CinemaxX 15;Dreamt Under the Water,France, 73 mins, Wide Management,CinemaxX 17; InLove We Trust, China, 115mins, Films Distribution, CinemaxX11; Mad Detective, China,89 mins, Celluloid Dreams,CinemaxX 13; Quid Pro Quo,U.S., 82 mins, HDNet Films/MagnoliaPictures, CineStar 5; TheClass, Estonia, 97 mins, Non-Stop Sales, Marriott 211.15 Apocalypse Code, Russia,105 mins, Central Partnership,CinemaxX 6; At theBeautiful Blue Danube, Serbia,119 mins, Film Center Serbia,Parliament; Confessionsof a Superhero, U.S., 93 mins,Cinemavault Releasing International,Marriott 3; Correction,Greece, 83 mins, GreekFilm Centre, CinemaxX 18;Gospel Hill, U.S., 100 mins, SixSales, CinemaxX 19; OpenCity, South Korea, 112 mins, CJEntertainment, CinemaxX 16;The Bird Can’t Fly, Netherlands,89 mins, EastWestFilmDistribution, CinemaxX 12;Trade — Welcome to America,Germany, 119 mins, HydePark International, CinemaxX 111.20 The Living End:Remixed and Remastered,U.S., 85 mins, Fortissimo Films,MGB Kinosaal11.30 Badland, U.S., 160 mins,Copex, CinemaxX 3; GloriousExit, Switzerland, 75 mins, AdrianaChiesa Enterprises, Marriott1; Normal, Canada, 100 mins,Bankside Films, CinemaxX 14;The Key, France, 115 mins,SND/M6 DA, Arsenal 211.40 Dream Boy, U.K., 90 mins,U Media, CinemaxX 211.45 Corroboree, Australia, 96mins, Shoreline Entertainment,CinemaxX 5; Honeydripper,“Flipping Out”U.S., 121 mins, Rezo Films International,CinemaxX 912.15 Y. P. F., Canada, 90 mins,ThinkFilm International,CineStar 112.30 Christmas Story, Finland,80 mins, Delphis Films,CineStar 6; From Hollywood.The Life Story of Budd Schulberg,U.S., 17 mins, Brookner/Schulberg Productions, CinemaxX17; Oviedo Express,Spain, 100 mins,TelevisiónEspañola, CineStar 2; The Protocol,France, 95 mins, Studio-Canal, CineStar 412.40 August, U.S., 95 mins,ContentFilm International,CineStar 512.45 De quien es el portaligas?,Argentina, 107 mins,Primer Plano Film Group,Marriott 213.00 Alondra, A TranssexualDiary, Spain, 78 mins, SND Films,Marriott 3; Daylight Robbery,U.K., 92 mins,AV Pictures, CinemaxX18; Downloading Nancy,U.S., 96 mins,Wild Bunch, CinemaxX4; Hansel and Gretel,South Korea, 116 mins, CineclickAsia, CinemaxX 11; HaveDreams, Will Travel, U.S., 86mins, Icon Entertainment International,CinemaxX 12; Labrunante, Canada, 101 mins,TVA Films, CinemaxX 19; Let ItSee MARKET on page 14thr.com | los angeles 323/525-2000 | new york 646/654-5000 | london 44/207-420-6139 | beijing 86/10-6512-5511 (ext. 121)12

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DAY6_012_mktSG c 2/11/08 1:02 PM Page 14Day 6 Tuesday, February 12, 2008market screening guide“Runaway Horse”“Ben X”MarketContinued from page 12—Ride, Canada, 90 mins, BogeydomLicensing, dffb-Kino; Unfailing,France, 100 mins,WideManagement, Marriott 1; UnfinishedSky, Australia, 91 mins, FortissimoFilms, CinemaxX 13; MidnightMeat Train, U.S., 90 mins,Mandate International, MGBKinosaal; Visiting, France, 103mins, Pyramide International,CinemaxX 15; Our Life Doesn’tFit on a Opala Car, Brazil, 104mins, Imovision, CinemaxX 1913.20 Ben X, Belgium, 90 mins,Films Distribution, CinemaxX 213.30 Das Gelübde, Germany,92 mins, CinemaxX 1; Kenedi IsGetting Married, Serbia, 80mins, Film Center Serbia, Parliament;Kings, Ireland, 90 mins,High Point Media Group, CinemaxX16; Love Comes Lately,Germany, 86 mins, FortissimoFilms, CinemaxX 14; Tooth andNail, U.S., 94 mins, Arclight Films,CinemaxX 1714.00 Amazon Jack: JungoGoes Bananas, Denmark, 75mins, Nordisk Film InternationalSales, CinemaxX 9; Giorni enuvole, Italy, 116 mins, AdrianaChiesa Enterprises, CineStar 114.15 Chaotic Ana, Spain, 117mins, Sogepaq, CineStar 6;Continental, A Film WithoutGuns, Canada, 103 mins,Christal Films Distribution, Cine-Star 2; Darling, France, 93 mins,Gaumont, CineStar 414.30 El paraiso de Hafner,Spain, 74 mins, KWA, Marriott 3;Man on Wire, U.K., 90 mins, TheWorks International, CineStar 514.45 A Song of Good, NewZealand, 84 mins, NZ Film, MGBKinosaal; Bigga Than Ben,U.K., 83 mins, Altadena Films,dffb-Kino; Fear(s) of the Dark,France, 78 mins, CelluloidDreams, CinemaxX 13; TheSign of the City, Brazil, 95mins, Pulsar Cinema, CinemaxX18; La señal, Argentina, 95mins, Filmsharks International,Marriott 215.00 Ballerina, France, 90mins, Wide Management, Marriott1; Párpados azules, Mexico,98 mins, Funny Balloons,CinemaxX 11; Cortex, France,104 mins, Films Distribution, CinemaxX14; Night Before FinalExams, Italy, 102 mins, RaiTrade, CinemaxX 15; OceanWaves, Japan, 72 mins, WildBunch, CinemaxX 19; Son of aLion, Australia, 92 mins, FortissimoFilms, CinemaxX 2; TheYear of Getting to Know Us,U.S., 100 mins, Inferno Distribution,CinemaxX 12; Tale 52,Greece, 98 mins, m-appealCinemaxX 415.15 Beauty Remains, China,86 mins, Stellar Group, CinemaxX17; Manuela andManuel, U.S., 94 mins, LatidoFilms, CinemaxX 1615.30 Cherry Blossoms, Germany,122 mins, Bavaria FilmInternational, CinemaxX 10; TheHeart Is a Dark Forest, Germany,83 mins, The Match Factory,CinemaxX 1; Gabriel’sVoice, Spain, 100 mins, CatalanFilms & TV, Parliament16.00 80 Minutes, Germany, 90mins, American Cinema International,Marriott 3; Les 3 p’titscochons, Canada, 110 mins,Christal Films Distribution, Cine-Star 1; Love Me No More,France, 85 mins, StudioCanal,CineStar 416.15 Blood Brothers, Netherlands,95 mins, NonStop Sales,CineStar 516.30 Goodnight Irene, Portugal,98 mins, Filmes do Tejo, CinemaxX18; No digas nada,Spain, 90 mins, TelevisiónEspañola, dffb-Kino; PaperBird, Germany, 101 mins, AtrixFilms, CinemaxX 13; The Gamblers,Russia, 90 mins, TV ChannelRussia, Marriott 2; The MostDistant Course, Taiwan, 113mins, Joint Entertainment, CinemaxX1916.45 Cadaver, Korea, 111mins, iHQ, Inc, CinemaxX 11;Falling From Earth, France, 75mins, Wide Management, Marriott1; The Visitor, U.S., 103mins, K5 International, CinemaxX217.00 Latin American Worksin Progress, 120 mins, RevistaHaciendo Cine, CinemaxX 17;Berlin, U.S., 85 mins, FortissimoFilms, CinemaxX 14; Free toLeave, Austria, 96 mins, BavariaFilm International, CinemaxX 4;Runaway Horse, Germany, 96mins, Telepool, CinemaxX 1517.15 Nothing to Lose,Netherlands, 90 mins, High PointMedia Group, CinemaxX 1617.30 El Greco, Greece, 117mins, Greek Film Centre, Parliament;Nothing but Ghosts,Germany, 116 mins, Beta Cinema,CinemaxX 117.45 Elegy, U.S., 108 mins,Lakeshore EntertainmentGroup, CinemaxX 10; Kung-FuKid, Japan, 98 mins, ShochikuCo, CineStar 4; MidnightClear, Canada, 102 mins, CinemavaultReleasing International,Marriott 318.00 A Complete History ofMy Sexual Failures, U.K., 89mins, Wild Bunch, CineStar 5; InSearch of a Midnight Kiss,U.S., 98 mins, Bankside Films,CineStar 218.15 Before the Rains, U.S., 98mins, Maximum Films International,CinemaxX 13; El hombre dearena, Spain, 102 mins, MovieAvenue, dffb-Kino; In Prison MyWhole Life, U.K., 90 mins, SwipeFilms, Marriott 2; Il dolce e l’amaro,Italy, 98 mins,AdrianaChiesa Enterprises, CineStar 118.30 50 Dead Men WalkingPromo Reel, U.K., 15 mins,HandMade Films International,MGB Kinosaal; A PoliceRomance, France, 95 mins,Wide Management, CinemaxX14; Black White + Gray: APortrait of Sam Wagstaff andRobert Mapplethorpe, U.S., 75mins, Fortissimo Films, Marriott 118.45 881, Singapore, 100mins, Arclight Films, CinemaxX15; Barcelona (A Map),Spain, 90 mins, Latido Films,CineStar 6; El cayo de lamuerte, Brazil, 88 mins, Latinofusion,CinemaxX 18; EverythingIs Fine, Canada, 118mins, Séville International, CinemaxX2; The Vanishing Point,France, 79 mins, Films Distribution,CinemaxX 1119.00 Anita, Italy, 90 mins,Intramovies, CinemaxX 1619.30 Back to Christopolis(Perspective on the Hope ofIntegration), Switzerland, 83mins, Pasmania Entertainment,CineStar 5; She’s Got It, Israel,90 mins, Transfax Film Production,CinemaxX 12; The Sultansof the South, Mexico, 98mins, Filmax International,CineStar 419.45 The Children of HuangShi, Australia-Germany, 124mins, Hyde Park International,CinemaxX 1020.00 The Box Collector, Belgium,90 mins, Corsan, CineStar2; Tour Excess, Germany, 90mins, Detlef Bothe © B-Filme,Marriott 2; Trouble, Germany,82 mins, Marriott 120.30 Ramchand Pakistani,Pakistan, 105 mins, Project One,Marriott 3thr.com | los angeles 323/525-2000 | new york 646/654-5000 | london 44/207-420-6139 | beijing 86/10-6512-5511 (ext. 121)14

DAY6_010_festSG c 2/11/08 12:36 PM Page 15Day 6 Tuesday, February 12, 2008FestivalContinued from page 10—Mexico, 90 mins, Retrospective,CinemaxX 4 (E); Happy-Go-Lucky, U.K., 118 mins, Competition,Berlinale Palast (D);City of Men, Brazil, 106 mins,Generation 14plus, BabylonBerlin (E); Il caso Mattei, Italy,116 mins, Homage, Zeughauskino(E); Global Mobile —Food: Divine Food, U.S.-Canada-Chile,3 mins, A Table inHeaven, U.S., 78 mins, Eat, Drink,See Movies, Martin-Gropius-BauKinosaal/Spiegelzelt20:00 The Elite Squad, Brazil-Argentina, 118 mins, Competition,International (D); Leo,Sweden, 78 mins, Forum, Colosseum1 (E); Viridiana, Spain-Mexico, 90 mins, Retrospective,CinemaxX 8 (E); No Bikini,Canada, 9 mins, PanoramaSupporting Film, Drifting Flowers,Taiwan, 97 mins, Panorama,CinemaxX 7; Suddenly, LastWinter, Italy, 80 mins, PanoramaDokumente, CineStar 7 (E);What the Heart Craves,Japan, 98 mins, Forum, Arsenal1 (E); Nirvana, Russia, 89 mins,Forum, Cubix 9 (E)20:15 Grandmother’s Flower,South Korea, 90 mins, Forum,CineStar 8 (E); Dream Boy,U.S., 90 mins, Panorama, Cubix 7& 8 Interlocked; First Love,Japan, 96 mins, Panorama,CineStar 3 (E)20:30 In Between Days, Germany,104 mins, PerspektiveDeutsches Kino, CinemaxX 1 (E)21:00 Sparrow, Hong Kong-China, 87 mins, Competition,Urania (D)21:30 Trip to Asia: The Questfor Harmony, Germany, 108mins, Berlinale Special, FilmpalastBerlin (E); The Exiles,U.S., 72 mins, Forum, DelphiFilmpalast; Sonetaula, Italy-France-Belgium, 157 mins,Panorama Special, Zoo Palast1 (E); Carmen, Italy-France,152 mins, Homage, CinemaxX4 (D)22:00 Espana 1936, Spain, 34mins, Las Hurdes/Tierra sinpan, Spain, 27 mins, Retrospective,Zeughauskino; GlobalMobile — Food: Amuse-Bouche (Anatomy of aLunch), U.S.-Canada-France, 3mins, El Bulli — Historia d’un somni,Spain, 21 mins, East, Drink, SeeMovies, Martin-Gropius-BauKinosaal“Standard Operating Procedure”22:15 Susana, Mexico, 86 mins,Retrospective, CinemaxX 8 (E);Summer Book, Turkey, 92 mins,Forum, Cubix 9 (D)22:30 Jesus Christ Saviour,Germany, 84 mins, PanoramaDokumente, CineStar 7 (E);Lemon Tree, Israel-Germany-France, 106 mins, PanoramaSpecial, Colosseum 1 (E);Transsiberian, Spain-Germany-U.K.-Lithuania,111 mins,Panorama Special, Cubix 7 & 8Interlocked; Cherry Blossoms— Hanami, Germany, 122mins, Competition, International(E); Standard OperatingProcedure, U.S., 118festival screening guidemins, Competition, BerlinalePalast (D); Divizionz, Uganda-SouthAfrica, 91 mins,Forum, CineStar 8 (E); Otto; or,Up With Dead People, Germany-Canada,94 mins,Panorama, CinemaxX 722:45 Jerusalema, SouthAfrica, 120 mins, Panorama,CineStar 3 (E)23:00 The Muzzled Horse of anEngineer in Search of MechanicalSaddles, Philippines, 80mins, Forum,Arsenal 1 (E)23:30 The Elite Squad, Brazil-Argentina, 118 mins, Competition,Urania (D)thr.com | los angeles 323/525-2000 | new york 646/654-5000 | london 44/207-420-6139 | beijing 86/10-6512-5511 (ext. 121)15

DAY6_016_ATstarGermano c 2/11/08 1:18 PM Page 16Day 6 Tuesday, February 12, 2008newsAxel Schmidt/AFP/GETTY IMAGESberlinaleabout townName: Elio GermanoBorn: Sept. 25, 1980Nationality: ItalianSelected Filmography: “Crime Novel”; “N: Napoleon & Me”;“My Brother is an Only Child”; “As God Commands” (in preproductionfor 2008)After winning a David diDonatello best actoraward for his role inDaniele Luchetti’s highlyregarded “My Brother is anOnly Child,” most Italianfilm buffs finally know whoElio Germano is. But hehas been one of Italy’shardest-working actors foryears, with nearly threedozen television and filmcredits to his name in acareer that started at age12. Living in Rome with alove of acting and anotherfor travel, Germano talkedabout his selection as a Shooting Stars nominee the day hereturned from a monthlong vacation in Argentina.What has been your most challenging role to date?I’ve found several challenging, but I will admit I was a little bitin awe when I made “N: Io e Napoleone” (N: Napoleon & Me)because of the cast, which included Monica Bellucci andDaniel Auteuil.Sean Gallup/GETTY IMAGESWhere were you when you were told you had beenpicked? Are you happy to be in Berlin?I was working on some project. I can’t remember which, but itseems like I’m almost always working. I’m extremely pleasedto have been picked. It’s always nice to be honored, but it’sespecially rewarding to be honored internationally.How do you think being selected as a Shooting Star willhelp your career?I hope someone who may not have seen me in Italy may takea look and I may have a chance at a role outside Italy atsome point.You already work so much. Do you ever get roles confused?I have walked onto a set and had it confused with another setfor a moment or two. But that’s part of the game. I think it’snormal. It happens in everyday life, too. We’re all doing manythings at once in our lives.

DAY6_008_EDIT_rev1 2/11/08 5:11 PM Page 17Day 6 Tuesday, February 12, 2008reviews‘Hey Hey It’s Esther Blueburger’SYDNEY — “HeyHey It’s EstherBlueburger” is anAustralian coming-ofagecomedy that’s asself-consciouslyquirky as its title.First-time writerdirectorCathy Randallwould have donewell to dial down theeccentricity and concentrateon eveningout the tone, whichBYMEGANLEHMANNGenerationKplusoscillates betweencutesy and creepywith a jarring third-actdetour into melodrama.The misfit Jewish girl of thetitle (played by newcomerDanielle Catanzariti) bears morethan a passing resemblance toHeather Matarazzo’s nerdy 12-year-old in “Welcome to theDollhouse.” But Randalldoesn’t have thefine-tuned satirical sensibilitythat allowedTodd Solondz to hit justthe right note betweencomedy and pain.The presence of ToniCollette and Oscar-nominatedKeisha Castle-Hughes (“Whale Rider”)should help its profile,but this Disney-backedfilm is too left of center toappeal to the mainstreamwhen it opens March 20in Australia.“Esther” takes a kitchen-sinkreviewthe bottom lineThis black comedyabout a misfitadolescent triestoo hard.approach to the teen issues itcanvasses — bullying, peerpressure, family dysfunction andsexual awakening among them— so there’s something foreveryone as far as the adolescenttarget audience is concerned.But some of it is dubious fare.Esther’s back-alley experimentationwith a classmate, for example,is more disquieting thandroll. And the behavior exhibitedby her number-crunching twinbrother Jacob (Christian Byers) isnot so much idiosyncratic asdownright scary. Little wonderthe entire family winds up in apsychiatrist’s office.Esther is a tiny, beetle-browed13-year-old tormented by herperfectionist mother’s (EssieDavis) preparations for herupcoming bat mitzvah and by thetaunting of classmates at herultra-conformist all-girls privateschool. The girls make fun of herdorky look and peculiar habits,and she spends lonely lunch hourstalking to God through a toiletbowl. It’s that kind of quirky.Her oddness catches the eye ofSunni (Castle-Hughes), a toughnutdrummer from a nearby publicschool, who befriends Esther.Together they hatch a plan:Esther borrows Sunni’s spareschool uniform and secretlychanges schools, fooling her parentswhile exploring an excitingnew universe that includes hangingout with the cool kids andSunni’s hip, laid-back mother,Mary (Collette).In her desperation to fit in,Esther’s natural adolescent selfabsorptiontakes an unpleasantturn, and she starts to alienateeveryone (except the pet ducklingthat follows her and is somewhatlabored as a metaphor.)Production designer NellHanson, costume designer ShareenBeringer and cinematographerAnna Howard use a Skittlescoloredpalette to create aheightened reality that mirrorsEsther’s internal fantasy world.The film boasts a great indiesoundtrack dominated by upbeatAustralian bands.HEY HEY IT’S ESTHER BLUEBURGERTama FilmsCredits: Screenwriter-director: Cathy Randall; Producer: Miriam Stein; Executive producers:Heather Ogilvie, Stephen Hays, Peter Graham, Anton Rosenberg, Toni Collette; Director ofphotography: Anna Howard; Production designer: Nell Hanson; Music: Guy Gross; Co-producer:Harry Clein; Costume designer: Shareen Beringer; Editor: Dany Cooper. Cast: Esther: DanielleCatanzariti; Sunni: Keisha Castle-Hughes; Mary: Toni Collette; Jacob: Christian Byers; Grace:Essie Davis; Osmond: Russell Dykstra.No MPAA rating, running time 103 minutes.7–16March2008Doc Market10-15 MarchVictor KossakovskyJoris IvensKim LonginottoMonika TreutStefan JarlAlbert MayslesBruce WeberBarbara KoppleJulia ReichertJoe BerlingerBruce WeberBruce SinofskyArto HalonenAlexander SokurovThessalonikiDocumentaryFestivalthr.com | los angeles 323/525-2000 | new york 646/654-5000 | london 44/207-420-6139 | beijing 86/10-6512-5511 (ext. 121)17

DAY6_018_EDIT_rev2 2/11/08 5:12 PM Page 18Day 6 Tuesday, February 12, 2008reviews‘Revanche’Hard luck conspireswith bad sex inthis unspectacular Austriantale of crime andpunishment. The accidentaldeath of his girlfriendspurs an ex-con-BYMAGGIEvict to seek, and find, LEErevenge in a way heleast expected or ever Panoramawanted. The film doesthe bottom linenot dig into archetypalA quasi-thrillermotives of guilt or with noatonement but ratherfrills.dangles the idea thathumans can either bepawns of fate’s random machinationsor become active agents in agrander scheme of things.With the rudiments of a crimethriller and the makings of a psychologicalsuspense, the drawnoutunfolding of events encouragesexpectations of a smartertwist or more impressive ending.However, just like the slapdash,reviewunerotic sex scenes thatencapsulate the overallmood of unfulfilledhope and bad karma,the film ends on a subduedand rather flaccidnote. It’s a hard sell forthe commercial market,but TV and festival outingsare possible.“Revanche” is set inVienna and the smalltown of Gföhl in equalparts — urban sleazereminiscent of “EasternPromises” comes faceto-facewith provincial churchgoingcountry life. Alex (JohannesKrisch), the driver for the boss ofa sex trade syndicate, has a secretlove affair with one of his girls,Ukrainian Tamara (IrinaPotapenko). Alex wants to rescueTamara from rough customers,pay off her debts and chip into arestaurant business in Ibiza. Theygo back to Alex’s grandfatherHerr Hausner’s hometown,where robbing the sleepy localbank would have been a breezebut for the chance intervention ofpoliceman Robert (AndreasLust), who accidentally causesTamara’s death.Alex moves in with Hausner tolie low and ruminate on revenge.While Alex can’t endure thethought of Tamara’s murderercarrying on life as usual, Robertcomplains about his bad luck ofhaving been there in the firstplace and goes into gradual psychologicaldecline. His wife,Susanne (Ursula Strauss) unwittinglybecomes a link betweenthe two men through her friendshipwith Hausner.Like the film’s first establishingshot of a lake whose smooth surfaceis suddenly disturbed bysomething falling in, the plotmoves in small ripples, with itsfirst serious turning point arriving50 minutes into the film and thesexually charged twist occurring23 minutes later.REVANCHEPrisma Film/Sperlmann Film/the Match FactoryCredits: Screenwriter-director: Götz Spielmann; Producers: Mathias Forberg, Heinz Stussak,Sandra Bohle, Götz Spielmann; Director of photography: Martin Gschlacht; Productiondesigner: Maria Gruber; Music adviser: Walter W Cikan; Costume designer: Monika Buttinger;Editor: Karina Ressler.. Cast: Alex: Johannes Krisch; Tamara: Irina Potapenko; Robert:Andreas Lust; Susanne: Ursula Strauss.No MPAA rating, running time 122 minutes.‘Love andOther Crimes’PARIS — A day in the life ofa few lost souls in Belgrade,“Love and Other Crimes” followsMilutin (Fedja Kostic), adeclining mobster; his righthand, Stanislav (Vuk Kostic); hismistress, Anica (Anica Dobra);and his autistic daughter, Ivana(Hanna Schwambom). Thismelancholic German-Serbian-Austrian-Slovenian co-productionwill be a tough sell theatricallybut could play numerousfestivals specialized in EasternEuropean cinema.Spanning from morning toevening (the last evening Anicais planning to spend in her city),the action soon focuses onStanislav’s feelings for Anica. Arather impossible love storybegins. Its outcome is predictable,but director StefanArsenijevic,in his firstfeature, givesthe drama abitter,melancholic touch.BYGRÉGORYVALENSPanoramafilm briefAlthough some sequenceshave impact, such as the twinrooftop scenes showing theteenage Ivana having suicidaldrives or the oddly funnyrevenge Anica takes on her formerboyfriend, the nearly twohourfilm seems to last for ages.The film won’t be of muchuse to the Serbian tourism officeas Arsenijevic clearly loathes Belgrade,which he depicts in ruins,full of concrete project houses,and whose inhabitants all seemto long to escape to anothercountry or to contribute to thecity’s high crime rate. •‘Heavy Metal in Baghdad’The fate of four would-be head-bangersin the crazy world of Iraq might notadd up to a hill of beans, but it’s fodder foran engaging documentary by Canadianfilmmakers Eddy Moretti and Suroosh Alvititled “Heavy Metal in Baghdad.”It should play well at festivals and be acollectors item on DVD.Tipped off by a magazine article about aband called Acrassicauda (Black Scorpion)attempting to play heavy metal concerts in thewar-torn capital, Moretti and Alvi tracked themdown and helped stage a ragged concert beforea small group of dedicated fans.BYRAYBENNETTfilm briefPanoramaDocumentaryAll hell broke loose after that and they lost touch, but thefilm shows their attempts a year later to track down the fouryoung men who want to be like their heroes in Metallica,Slayer and Slipknot.What the band lacks in musical talent it more than makesup for in enthusiasm, though the film wisely keeps their playingto a minimum. Moretti handles the camera while Alviasks the questions onscreen, and it probably helps that hismanner is jaunty as the places they visit in shell-shockedBaghdad are very scary.The city’s terrifying lack of security and the awful existencethat Iraqis of all creeds are suffering become abundantlyclear even after the foursome make their way to Damascusin Syria.Their thoughts and observations about life in Iraq todayare expressed in near-perfect American accents with endearingobscenities and mistakes in syntax. They seem much closerto the spirit of rock ‘n’ roll than the Rolling Stones in MartinScorsese’s “Shine a Light.”thr.com | los angeles 323/525-2000 | new york 646/654-5000 | london 44/207-420-6139 | beijing 86/10-6512-5511 (ext. 121)18

DAY6_018_EDIT_rev2 2/11/08 5:12 PM Page 19Day 6 Tuesday, February 12, 2008reviewsPARIS — With itsminimalist plot,witty dialogue andyoung characters insearch for love, “JustAnybody” representsthe very essence ofJacques Doillon’s cinema.Which means fansof the French directorwill love this deep diveinto his obsessions,while those who resisthis style can only beexasperated. The filmlooks likely to tour festivalsand art housesaround the globe.L OCARNO,Switzerland —German directorUlrike von Ribbeck’ssly comedy “Sooner orLater” (Fruher oderspatter) tells of howexternal forces canmake an averagely contentedsuburban familybecome unexpectedlyunhinged. The filmshould thrive internationallywith its universalportrayal of modernangst and the comicaspects of potentiallyserious family misadventure.Lola Klamroth is Nora,a 14-year-old given to whimsicaldaydreams in which she’s the starof picturesque romances. Herfather, Uwe (Peter Lohmeyer),BYGRÉGORYVALENSForumthe bottom lineJacques Doillondelivers anotherbrilliant exerciseon favoriteobsessions.Sprawling across fourdays, “Anybody” bringsits characters to a smallresort on the northwestcoast of France. Camille,in her 20s, instinctivelyjumps on a train fromParis to follow her onenightstand, Costa, asmall hoodlum whothinks he doesn’t needlove. Revolving aroundthe periphery are Cyril,the local cop who’s alsoCosta’s longtime friend,and Gwendoline, Costa’sex-wife.The plot is thin, and dialogue‘Sooner or Later’BYRAYBENNETTreviewreviewGerman CinemaReviewed in Augustat the LocarnoInternational FilmFestival.the bottom lineFinely observedand witty study ofa suburban familyunder stress.sells custom kitchens in adwindling market, whilemother Anette (BeataLehmann) has returnedto school to completeher education.Their lives are disruptedwhen a mannamed Thomas (HaraldSchrott) moves in nextdoor with his beautifulwife Ellen (Marie-LouSellem). Charismaticand charming, Thomasis a bit of a local hero,having had some successas an actor andmountaineer. But nowhe’s back home.Nora is immediatelydrawn to Thomas, not leastbecause he is sucha contrast to herfather, and Thomas is not‘JustAnybody’immune to her star-struck attentions.Her father, who alreadyhas a low opinion of the failedactor because he was a formerlover of his wife, senses theattraction. It only adds tothe stress resulting from hispartner’s dubious business practices,which threaten his livelihood.Nora’s mother, meanwhile,finds herself being wooedby a young student (FabianHinrichs).While Nora’s romantic fantasiesdraw Thomas precariouslyclose to a fatal attraction, Uwelets his temper get the best ofhim at a neighborly dinner, and(a landmark of the filmmaker’sstyle) is often the only motor ofthe action. While the film veerstoward stage drama rather thanfilmic expression, Doillonshoots the interaction betweenhis youngsters and the unexpectedsituations that arise fromtheir confrontations in intriguingways. In a brilliant use ofspace, the characters move indesolated landscapes (the filmwas shot in winter, when thecoastal resort is most bleak), andthe director’s taste for garishcamera movements as an expressionof the characters’ inner tormentsskillfully balance the theatricalimpression.The actors are amateurs ornewcomers — another hallmarkof Doillon’s style. Young ClémentineBeaugrand is amazingas Camille, a romantic girl discoveringthe bitter reality ofhuman relations, lies and sexualinstincts. The most dazzlingperformance comes from GéraldThomassin, who Doillon introduced18 years ago in “The LittleGangster.” This hoodlumrole might finally see the realizationof that César he received in1991 as best upcoming talent.A bit unsophisticated, GwendolineGodquin, as the ex-wife, isapparently a genuine worker girlfrom the region. But she doesn’tact with the same style as the otheractors, creating an odd imbalanceto some sequences.JUST ANYBODYA Liaison Cinématographique/Artémis ProductionCredits: Screenwriter-director: Jacques Doillon; Producer: Patrick Quinet; Director of photography:Hélène Louvart; Costume designer: Anne Fournier; Editor: Marie Da Costa. Cast:Camille: Clémentine Beaugrand; Costa: Gérald Thomassin; Cyril: Guillaume Saurrel; Gwendoline:Gwendoline Godquin; Father: Jany Garachana.No MPAA rating, running time 123 minutes.SOONER OR LATERPolyphon Film, FernsehgesellschaftAnette drifts toward her youthfulsuitor. The script by vonRibbeck and Katharina Heldlooks askance at these doingsbut contrives some unpredictabletwists.Klamroth is endearing as theyoung woman who yearns to begrown up but is still a child, andSchrott is accomplished as aman whose need for attentiondraws him near to temptation.Lohmeyer and Lehman, whosecharacters at first appear onedimensional,successfully developthem into richly layered andcomplicatedly recognizablehuman beings.Credits:Director: Ulrike von Ribbeck; Screenwriters: Ulrike von Ribbeck, Katharina Held;Producers: Beatrice Kramm, Steffi Ackermann; Director of photography: Sonja Rom; Productiondesigner: Ina Timmerberg; Editor: Natali Barrey. Cast: Mr. Nora: Lola Klamroth; Uwe: PeterLohmeyer; Thomas: Harald Schrott; Anette: Beata Lehmann; Isa: Katharina Heyer; Ellen: Marie-Lou Sellem; Wolf: Thorsten Merten; Daniel: Fabian Hinrichs.No MPAA rating, running time 91 minutes.thr.com | los angeles 323/525-2000 | new york 646/654-5000 | london 44/207-420-6139 | beijing 86/10-6512-5511 (ext. 121)19

DAY6_020_EDIT_tips c 2/11/08 4:05 PM Page 20berlin culture berlin culture berlin culturDay 6 Tuesday, February 12, 2008 Sixth in a seriesJohannes Eisele/AFP/GETTY IMAGESSean Gallup/GETTY IMAGESNaturkundemuseumMarcus BrandtAFP/GETTY IMAGESNeue NationalgalerieMuseumsinselLooking for a break from allthose packed screening rooms,flashy promo reels and endlessdeal brokering?Then get off Potsdamer Platz andcheck out some of Berlin’s noncinematicculture, from the mostbeautiful woman on Earth (albeitdead for more than 3,000 years) tothe real “Lives of Others” to a fewspots you could send your SFXartists when they run out of ideas.MUSEUM OF NATURAL HISTORY(NATURKUNDEMUSEUM)Address: Invaliden Strasse 43 in Mitte;Tel.: 03020938591; Hours: Tue.-Fri., 9:30 a.m.-5 p.m. and Sat.-Sun., 10 a.m.–6 p.m.With the new “Raiders of the Lost Ark” comingup, you’ll want to sharpen your archeologicalcredentials. Head over to Berlin’s Natural HistoryMuseum, which houses the world’s largestdinosaur skeleton, surrounded by beautifullyarranged exhibits about evolution.THE NEW NATIONAL GALLERY(NEUE NATIONALGALERIE)Address: Potsdamer Strasse 50, just down thestreet from Potsdamer Platz; Hours: Tue.-Sun.,10 a.m.-6 p.m. and Thurs.. 10 a.m.-10 p.m.Berlin’s best collection of modern-day artcan be found at the New National Gallery.The current show focuses on cutting-edgeartist Jannis Kounellis, who displays hissculptures (partly made of groceries) in a hugesteel maze.PergamonMuseumMUSEUM ISLAND (MUSEUMSINSEL)Address: Located between the Spree Riverand the Kupfergraben in Mitte.The first stop for any Berlin culture vultureshould be the city’s world-famous MuseumIsland, which is chock-a-block with some ofEurope’s most prestigious collections. Highlightsinclude the Pergamon Museum on Bode Strasse1-3 (hours: 10 a.m.-6 p.m.and until 10 p.m. on Thursdays).Inside, you’ll find areconstruction of the EgyptianPergamon temple andan exhibit on the Egyptians’view of the afterworld titled“To Hell: A Journey to theAntique Underworld.” Nextdoor, you’ll find the mostbeautiful woman in the world according toBerliners: the ancient Egyptian bust Nefertiti, inthe Egyptian (Ägyptisches) Museum. It is part ofthe Old (Altes) Museum.MEDICAL-HISTORICAL(MEDIZINHISTORISCHES) MUSEUMAddress: Schuhmann Strasse 20 in Mitte;Hours: Wed. 10 a.m.-7 p.m. and Tue. and Thu.-Sun., 10 a.m.-5 p.m.Berlin’s medical history museum is famous forits pathological collection: two-headed babiesand other weird whims of nature collected 100years ago. This museum is strictly NC-17; no oneunder 16 is allowed in. Not for the faint of heart.MUSEUM OF EAST GERMANY (DDR-MUSEUM)Address: Karl-Liebknecht Strasse 1 on the shore ofMarcus Brandt/AFP/GETTY IMAGESthe Spree River in Mitte; Tel.: 030847123731; Hours:Mon.-Sun., 10 a.m.-8 p.m. and Sat., 10 a.m.-10 p.m.If you are curious to know the truth behind thehit film “The Lives of Others,” visit the DDRMuseum, which takes you back to a dividedBerlin with you on the wrong side of the wall.You can sit behind the steering wheel of a real“Trabi” and relax in a real, reconstructed EastGerman living room.ACADEMY OF THE ARTS(AKADEMIE DER KÜNSTE)Address: Pariser Platz 4 at the Brandenburg Gate;Tel.: 030200571000; Hours: Tue.-Sun., 11 a.m.-8 p.m.No one captured the quirks of Berliners in the1900s like caricaturist Heinrich Zille. New exhibitionsof his work are on display in Berlin at theAcademy of the Arts and in the Ephraim Palais(Post Strasse 16 in Mitte; hours: Tue.-Sun.,11 a.m.-8 p.m. and Wed., noon-8 p.m.)HITLER, HIS CITY AND HIS BUNKER TOURTel.: 01773410733If you want to see what Berlin was like during theThird Reich, take advantage of an English-speakingguided tour (Fri.-Mon., 3 p.m.). Also available isa Where was the Wall? tour (Tue.-Fri., 10:30 a.m.).THE STORY OF BERLINAddress: Kurfürstendamm 207 in Charlottenburg;Tel.: 03088720100; Hours: Daily, 10 a.m.-8 p.m.This multimedia exhibit on top of an old bunkeris the best one-stop shop look at Berlin’s longand checkered history.Astrid Ulethr.com | los angeles 323/525-2000 | new york 646/654-5000 | london 44/207-420-6139 | beijing 86/10-6512-5511 (ext. 121)20

DAY6_003_EDIT_news2 2/11/08 8:21 PM Page 21Day 6 Tuesday, February 12, 2008newsGermanyContinued from page 3—1990s, Huth has since movedon to greener pastures.Last seen at an undergroundparty in Frankfurt and spottedbefore that clutching a pricelessart work on a plane from London,Huth is now more likely toshow up at a vernissage than afestival. You’ve guessed it, he’snow dealing in art.Several other former film bigwigshave been equally as adventuroussince their film and televisionventures went southwhen the market collapsed.“Everyone was throwing toomuch money around, and theGerman media analysts didn’thave a clue what they weredoing,” said Senator Entertainmentpresident Carsten Lorenz,who was responsible for Senator’sU.S. operations under Huth.“Once they got some analystswho knew what they were doing,the whole thing fell apart.”The founder of kidvid giantsEM.TV, Thomas Haffa, is nowrumored to be selling boats inthe south of France; Helkon’sco-founder, Martin Heldman,has reportedly moved into realestate; and Intertainment’s BarryBaeres, he of “Battleship Earth”fame and the protracted legalbattle with former Franchisehead Elie Samaha, is said to haveabandoned the tropical island hebrought at the height of his successto raise a family in Zurich.“Media companies had a reallyrough ride after 2002,” formerHelkon executive Patrick Martinsaid. “Most of the original businessmodels from those companieswere based on bank financingright down to the office furniture.It was really hard to maintainthose businesses. A lot ofpeople had such a tough timethey preferred to walk away.”Martin, who now runs equityinvestment firm EuropeanMedia Finance, has kept hishand in the entertainment businessthrough a stake in Europeanmusic broadcaster DeluxeMusic. He is at this year’s Berlinalelooking for new businessopportunities and rubbingshoulders with a number of hisformer colleagues who managedto stay in the game.“It’s a different time. What wedid in the ‘90s you couldn’t donow,” he said. “But I’m alwayslooking for interesting deals.”Another comeback kid isAndreas Klein of SplendidMedien, who also is at Berlin.“What we did is to stick withit,” said Klein, who is focused onthe DVD business. “We managedto survive and stay clean. Butthere is no Oscar for doing that.For investors in those media companiesthat went bankrupt, thebanks, nobody wanted to dealwith the media sector anymore.”That’s something that formerKinowelt executive Alexandervan Dülmen knows only toowell. When he came to launchhis current outfit, A Company,in 2002, it was a tough time forany business. More so, he said,for a business dealing in allthings Eastern Europe.“The Neuer Markt was anexciting time,” said van Dülmen,who is in Berlin meeting withbusiness partners. “But it wasalso a time of wasted opportunities.Nobody understood thatyou didn’t get a second chance.It was really hard launching abusiness after that time.”Kinowelt, which is releasingthis year’s Berlinale opener,Martin Scorsese’s “Shine aLight,” recently sold the bulk ofthe distribution giant to ParisbasedCanal Plus for €70 million.Founders Michael andRainer Kölmel enjoyed amoment in the spotlight at theThursday night premiere whenthe film and crew received astanding ovation. Some say itwas well deserved.“There are a few people Irespect for having made itthrough,” van Dülmen said .“You have to count the Kölmelsamongst that number.”“It’s funny, in all the companiesmanagement has either beenreplaced or has left to do otherthings,” Michael Kölmel said.“Andreas (Klein) and my brotherand I are the only ones still here.”Several years have passed sincea wave of bankruptcies sweptthrough the industry here afterthese companies collapsed, andexecutives in the know finallyhave begun to open up aboutwhat really went on behind thescenes in those heady days.“One American company had“The Neuer Markt was an exciting time. But itwas also a time of wasted opportunities. Nobodyunderstood that you didn’t get a second chance. Itwas really hard launching a business after that time.”— Alexander van Dülmena so-called Russian model,Nadia, who supposedly didn’tspeak a word of English or German,and who would sit at thetable and spy on all the Germanswhen the Americans went to therestroom,” Lorenz said. “It wasso ‘Mata Hari.’ ”There also were reports ofdeals that were announced butnever concluded, companies thatwere never really acquired butwhose figures were nonethelessincluded in the annual returns ofthe firm that never broughtthem in the first place, and horrorstories of promised financingdrying up in the middle of production.“I need a T-shirt saying, ‘I survivedthe Neuer Markt,’ ” saidMyriad Pictures president KirkD’Amico, who recalls being lefthigh and dry in 2001 with threefilms in midproduction, includingthe Jennifer Aniston starrer“The Good Girl.”“A lot of innocent peoplewho got caught up in the middleof that mess, not least themom and pops, the private individuals,who invested the moneyin the first place,” he said.Some people even spent timein jail. These include MichaelKoelmel and VIP Medien’sAndreas Schmidt, who, after severalyears inside, is attendingBerlin while he awaits sentencingfor allegedly breaking the lawthrough the controversial structuringof his tax-backed film fund.Other players had a little moreluck. These include HerbertKloiber of the Tele-MuenchenGroup, which never went publicbut made money out of everyoneelse’s foolish forays on thestock exchange when he boughtand sold a portion of his companyfor a huge profit in the wakeof the EM.TV demise; and JoeDrake, who bought into Senatorjust as things started to turnaround. That company latermorphed into Mandate and thenLionsgate Films.“It was like a big party we allattended and had a great timeat,” Martin said. “Then camethe big headache afterwards. Itwas one big bubble.” •KölmelContinued from page 3—On the acquisitions side,Kölmel said he will focus ondeals for German-language territoriesbut will also be eyingpotential multiple-territory dealsto feed Studio Canal’s U.K.operation Optimum Releasing.Looking back to 2001, whenthe high-flying Kinowelt wasbrought down by a combinationof market jitters and excessdebt, Kölmel said the experiencehas changed the way hedoes business.“Kinowelt now has very littledebt and we finance acquisitionsourselves, not through bankfinancing,” Kölmel said. “Thatway we won’t have any riskbecause of the financing, weonly have the risk that the filmsdon’t work. And we trust thatwe can handle that … If youlook back to 2001, we had allthe right films including ‘TheLord of the Rings,’ and if wecould have exploited them, wewould have been able to pay offour debts. But if you are debtfinancedyou also have to convincesomeone else (the banks)that you are right. I don’t wanta repeat of that situation.” •SchmidContinued from page 3—successor as VIP head, whichwould see Brass Hat take the cashremaining in VIP’s last fund, VIP4, to use for its own projects.Schmid said the bulk of hisenergy at the moment is takenup in dealing with his appeal andwith the flood of civil suits fromVIP shareholders.Whatever the outcome of thecriminal and civil cases, Schmidsaid he has no plans to return tohis high-flying days as one ofGermany’s top film financiers.“I would like to continueworking in the business insome capacity, I think I havelearned a few things (in mytime with VIP),” Schmid said.“But the most important thingnow is to spend time with myfamily, which I had neglectedbefore.”•more onlineFor more Berlin newsand reviews go toTHR.com/berlinthr.com | los angeles 323/525-2000 | new york 646/654-5000 | london 44/207-420-6139 | beijing 86/10-6512-5511 (ext. 121)21

DAY6_001_EDIT_news1 2/11/08 7:37 PM Page 22Day 6 Tuesday, February 12, 2008news‘Elite Squad’Continued from page 1—BrazilContinued from page 1—shown with German subtitlesafter the English version failed tomaterialize. Non-German speakerswere offered the option ofsimultaneous translation, withsome receiving headphones thatdidn’t work. A second screeningof the English version wasarranged by sales company theWeinstein Co. for Monday night.More than 11 million peoplesaw “Elite” illegally after a singlecopy was stolen and distributed,and after the police decidedto sue Padilha and throwhim in jail.“I don’t know how it happened,”he said. “We have a verycorrupt and violent police force.through some of the worst casesof urban blight on the planet.Poorly structured and at timesincoherent, what boxofficeappeal the film has will rely onits sheer pace and the amount oftorture and killing that goes on,so it should do fine.The basic assumption of thescript by Padilha, RodrigoPimentel and Braulio Mantovaniisthat everyone in Rio is corrupt,especially the authorities. Policemenaccept bribes for whateverpays the most: do their jobs orturn a blind eye. They even stealthe engines from their own squadcars, sell them and put a piece ofjunk under the hood instead.Capt. Nascimento (WagnerMoura) is a cop with integrity,but it’s driving him crazy as herisks his life daily battling badguys in and out of uniform. Plushe has a pregnant wife at homewho wishes he would quit.He’s trying hard to accommodateher wish, but he needs tofind a replacement to take overcommand of the elite squad.Since everyone else has beencompromised he settles on tworookies who have been bestfriends since childhood, the bravebut hair-triggered Neto (CaioJunqueira) and the cautious butshrewd Matias (André Ramiro).For some reason their workinvolves getting second jobs sothat Neto works at the policeauto shop while Matias goes tolaw school. Neto’s commitmentleads him to devise a way ofintercepting payoffs drug dealersmake to the local commanderand using the money to supplythe squad cars with desperatelyneeded new parts.Matias hides the fact that he’sa cop from the other students,including pretty Maria (FernandaMachado) and takes noaction when they fire up joints.Both situations lead to dangerouscomplications, thoughthe story is told in a confusingTHE ELITE SQUADThe Weinstein Co.mix of time-shifting flashbacks,and at the end there’s still nosign of the pope.Before they can join the elitesquad, however, Neto andMatias have to make it throughan odd sort of training campthat involves ritual humiliation.Then, they’re handed highpoweredrifles and sent into theslums to kill everybody.Well, not everybody.Credits: Director: José Padilha; Screenwriters: Jose Padilha, Rodrigo Pimentel, BraulioMantovani; Producers: Marcos Prado, José Padilha; Executive producers: Maria Clara Ferreira,Bia Castro, Genna Terranova, Eduardo Constantini; Director of photography: Lula Carvalho; Productiondesigner: Tule Peake; Music: Pedro Bromfman; Co-producers: Eliana Soarez, JamesD’Arcy; Costume designer: Claudia Kopke; Editor: Daniel Rezende. Cast: Capt. Nascimento:Wagner Moura; Matias: André Ramiro; Neto: Caio Junqueira; Capt. Fabio: Milhem Cortaz; Maria:Fernanda Machado; Rosane: Maria Ribeiro; Edu: Paulo Vilela; Roberta: Fernanda de Freitas;Rodrigues: André Mauro; Baino: Fabio Lago.No MPAA rating, running time 118 minutes.In the U.S., which has a populationof 300 million, the policekill 200 people each year; 1,200people get killed in Rio aloneeach year, and Brazil only has apopulation of 10 million.“If you add to this figure thenumber of murders in Brazil,more people die each year thanhave died since the beginning ofthe Palestinian uprising, theIntifada, in Israel.”The director went some wayto explain the position of thepolice at the news conference,saying: “We pay our policemen$400 or $500 a month. Whowould blame them for notwanting to go up the favelasand deal with heavily armeddrug lords?”It’s a situation he knows onlytoo well, having made consciousdecisions to protect his own lifeduring the making of the film.“I started making “Elite” as adocumentary, he said. “But aftera couple of days I realized Imight be killed. That’s how Ibecame a feature filmmaker.”Attacking Brazilian laws, whichpenalize poor kids selling drugswith lengthy prison sentences butallow the “rich kids” buyingdrugs to get off with a warning,Padilha added: “The drug businessshould be legalized. Manypeople die from it in Brazil. It isan economic transaction, and thelaws deal with it unfairly.“It should be dealt with likethey did with cigarettes. Oncethey started advertising that cigarettesgave you cancer, peoplestopped smoking. They shoulddo the same with drugs.” •AmenabarContinued from page 1—to-six months.What is known is that Spanishuber-producer Fernando Bovairais lead producer, sources close tothe project confirmed. It will bethe first big solo film fromBovaira since he quit Sogecableas part of a reorganization at thepowerful film and TV group.Also confirmed is the involvementof Telecinco Cinema, thefilm arm of Spanish commercialbroadcaster Telecinco, thoughtto have stumped up a sizeablechunk of the reportedly €50 million($72.5 million) budget. Theproject is also understood to beset in the pre-Christian era andwas described by one insiderwho’s seen the script as “zany.”But all else remains rumorand speculation. Numerousphone calls to production servicescompanies and hotels on theMediterranean island failed tocast light on the title and cast.French actor Nicolas Cazale isknown to have tested for thelead role but was not retained.Word around Potsdamer Platzsuggest Rachel Weisz isinvolved, and further industrywhispers have suggested Universalas a possible partner forthe project. The studio declinedto comment officially.“Everything is being keptvery tight,” said one memberof Malta’s film community.“It’s strange.”The Times of Malta has reportedthat the island’s Fort Ricasoliin Kalkara is slowly being transformedinto an ancient Egypt setwith columns decorated withhieroglyphics and carvings. Partsof the 17th century fort are alsobeing incorporated in the film,with a primitive church beingconstructed in part of it.Spanish line producer JoseLouis Escolar is quoted by thepaper as saying the film does nothave a name yet, althoughdesigns in the fort’s workshopshad “Mists of Time” written onthem. Apart from Fort Ricasoli,filming will also take place onlocation in Maltese locations ofMdina, Valletta and Marsaxlokk.The film is understood to bethe first shot in Malta followingnew incentives introduced bythe government for the filmindustry last December.Pamela Rolfe in Barcelonaand Borys Kit in Berlin contributedto this report.thr.com | los angeles 323/525-2000 | new york 646/654-5000 | london 44/207-420-6139 | beijing 86/10-6512-5511 (ext. 121)22

DAY6_004_EDIT_digest c 2/11/08 8:43 PM Page 23Day 6 Tuesday, February 12, 2008newsBollywoodContinued from page 4—but also during the screening.The star wattage of the Indianactor also known as ‘SRK’ to hisloyal admirers equals that ofTom Cruise + Brad Pitt x 10 tothese fans.“It’s a very humbling experiencefor me,” Khan told TheHollywood Reporter. “I neverimagined that, not knowing thelanguage or the culture of ourcountry, the audience wouldreact to a movie that is a take-offon the Indian movie industryand like it so much.”Typically, when a star-studdedHindi-language film premieresin major cities around the world,Bollywood-mania strikes enthusiasticfans who mostly are NRI’s(non-resident Indians.) Butwhat is unusual in Germany isthat this fan base is not just Indianbut German. The growingpopularity of Hindi-languagefilms shown on local TV channelshere has created a newfoundinterest in all things Bollywood.Khan, whose fan base in Indiacould well reach hundreds ofmillions, is himself amazed atthe Bollywood craze in Germany.“I can’t intellectualizeand say that love and art crossesall boundaries and binds ustogether in globalization of cinema,but people have suddenlystarted realizing India is in thetime of celebration.”The melodramatic tone of atypical Bollywood film spiced upwith song and dance is whatdraws the German audience, saysStephan Holl, whose Colognebasedcompany Rapid EyeMovies is a market leader in distributingIndian and Asian filmsin Germany.In 2003, the company begandistributing Bollywood filmstheatrically and on TV channelslike RTL2. The television exposurefurther helped the DVDsales, Holl said. The company’sDVD catalog now includesmore than 200 titles.“It’s a cult phenomenon —the audiences can connect to theemotional films,” Holl said.“It’s a relief for the Germanaudience to cry once in a while,me included.”He added: “Lets forget aboutthe Bollywood name. In Germany,it’s a Shah Rukh Khanmarket. He is a guarantee forboxoffice.”Holl cautioned that becauseof the heightened interest, theGerman market is flooded withBollywood films, some of themmediocre. Therefore, the markethas dropped.Khan is keen to build on thegrowing popularity of the Indiancinema in Europe. “The noveltythat has allowed us to enterthe hearts of European people inGermany, France or Poland, weshould not let go of this opportunity,”he said.But changes are needed tosustain this interest, like trimmingfilms’ length from theirusual three hours.“We shouldn’t make moviesthat require an interval,” Khansaid. (In India, the interval orintermission is generally the timefor a chai and samosa break.)Still, the Indian way of storytellingshould be maintained,the actor-producer said.“There’s nothing wrong withit,” Kahn said. “Unabashedly,without being ashamed of thefact, I say that our cinema iskitsch, it’s got a lot of songs andits loud, but that’s who we are.”Khan, who has produced sixfilms, including “Om ShantiOm,” under his Red ChiliesEntertainment banner, does notwant to direct.“Direction is a lonely job, andI’m not cut out for being lonely,”he said, smiling. ”You’ve seen thecrowds. I love the people.” •WebContinued from page 4—the next three years of Costa-Gavras’ presidency. “In thecoming years we want to little bylittle digitalize all the films wehave so we can screen them inother ways outside the Cinemathequeitself. We want tocombine with other archives forexample so the films can travel.It’s one of the biggest filmarchives in the world, there’s afantastic tradition, and it mustcontinue to play its role.” Theestablishment currently screensaround 2,400 films a year in itsParis theatres. •VIPContinued from page 4—But in a vote this week, VIPshareholders could decide tosiphon off a good chunk of thedisputed cash. By midnightWednesday, VIP investors willdecide whether to use VIP 4capital to pay off an outstanding$58 million debt toHypoVereinsBank.The bank, still reeling fromits exposure to the U.S. subprimecrisis, has called in theloan.•SalesContinued from page 1—Elsewhere, Berlinale Competitionentry “Quiet Chaos”(Caos Calmo), directed byAntonello Grimaldi, has spreadto nine territories ahead of itsofficial screening Wednesday.While Leigh’s buzz title“Lucky” attracted a flurry ofU.S. interest before its galascreening Tuesday “QuietChaos” (Caos Calmo), alsoahead of its official screeningWednesday, is being sold by theproduction company’s own salesentity Fandango PortobelloSales headed by Janine Gold.Deals struck include France(BAC), Spain (Alta), Benelux(Cineart), Switzerland (Filmcoopi),Canada (Seville), Portugal(Midas), South Korea (JinJin), Brazil (Imovision) andIsrael (Lev). “Chaos” is producedby Fandango’s DomenicoProcacci from a screenplay byNanni Moretti, Lauro Paolucciand Francesca Piccolo. It isbacked by RAI Cinema, PortobelloPictures and Phoenix FilmInvestment and details the storyof a husband and father dealingwith the immediate aftermath ofthe sudden death of his wife.Since selling U.S. rights toSony Pictures Classics for“Frozen River” at Sundanceearlier this year, William MorrisIndependent has sold Australian/NewZealand and LatinAmerican rights to Sony.Ole Bornedal’s “Just AnotherLove Story,” has been sold byNordisk Film Sales to Netflixoufit Red Envelope Entertainmentand Koch Lorber Films forU.S. distribution. Bornedal,who hit radars with horror“Nightwatch” took “JustAnother” to Sundance in theworld dramatic competition thisyear. The deal was negotiated byThom Zadra of Red EnvelopeEntertainment, Richard Lorberof Koch Lorber Films, MarkAnkner of Endeavor and TineKlint for Nordisk. Billed as agrotesque mix-up yarn, the filmdetails the tale of a suburban dadwho takes over the identity of afriend’s exotic boyfriend. Thefilm has already sold to SevillePictures (Canada), RevolverEntertainment (United Kingdom/Ireland)and CIS (Russia)among others.Meanwhile, South Koreansales, distribution and financierCJ Entertainment has seen aGerman spending spree withlocal distributor Splendid snappingup a quartet of titles fromthe Korean company.CJ Entertainment said Splendidhas taken German rights toperiod drama “The DivineWeapon” from director Kim Yoojin.The other titles packing theirKorean bags for all rights at Senatorare “Open City,” “Our Town”and “Fate”. CJ Entertainmentinternational sales and acquisitionschief Tom Oh said theEuropean Film Market has been“steady” rather than spectacular.Coming into the market here,much of the chat from sellerscentered on reasonableprospects despite a backdrop offluctuating currencies, moreconservative investment behaviorand the ever-present threatof a global economic downturn.“If you have quality product,deals will be done,” was themantra from sellers ahead of themarket. That might need to bechanged to “finished product,”or at least projects close to production.It’s the pre-sales marketthat seems to be slow burningwith the usual, “it’s a bit early,”trotted out by busy salesexecs huddled in suites. “Thereisn’t anything new here,” oneacquisitions chief said.And the usual post-weekendexodus from overseas attendeesis also well under way.Moscow based Raisa Fomina,of Intercinema, said there wasplenty of activity but for Russiantitles, the marketplace is tough.“Since there are no governmentalor intergovernmental foundationssupporting foreign salesof Russian films, European distributorsare not willing to takea risk,” Fomina said. “If for aEuropean film they have all sortsof foundations to cover losses incase the film is a boxoffice failure,they have no such luxurywith a Russian film.”Borys Kit and Kirill Galetskicontributed to this report.thr.com | los angeles 323/525-2000 | new york 646/654-5000 | london 44/207-420-6139 | beijing 86/10-6512-5511 (ext. 121)23

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