My favorite film of the Berlinale was Queens of the Qing Dynasty, Ashley McKenzie’s ambitious and otherworldly fantasia about a “queer friendship romance” between a suicidal young woman and a Chinese immigrant she meets while hospitalized. Inspired by two teenagers she befriended during the casting of her previous feature, Werewolf (2016), McKenzie first sketched out the central character, Star (Sarah Walker), whose everyday life is mediated by endless negotiations with social workers, doctors, guardians, landlords and the various bureaucracies that employ them. Star is aging out of child protective services and has been deemed unfit to live independently, so as […]

The ongoing Berlinale is, as you’re likely aware, the first ever to be held virtually. Which also makes Berlin the first of the Big Three film festivals to go this route, seeing as last year Cannes was cancelled and Venice managed to squeeze in a smaller-scale edition between waves of this most pernicious of pandemics. Although the Berlinale has always prided itself on being a public festival, this time it’s a professionals-only affair—a repeat in the city’s cinemas, accessible to all, is planned for June—and the customary eleven days have been reduced to five.  Parsing the rationale behind this split […]

Despite relocating to Chicago in 2015, Shengze Zhu has focused on her hometown of Wuhan throughout her career. Her first feature, Out of Focus (2014), is a creative portrait of the school-life of children from low-income families and the troubles they face. Her second, Another Year (2016), uses long takes to document the mealtimes of migrant worker families. Both are set in Wuhan but were made after she first left China in 2010 to study filmmaking in Columbia, Missouri. For Present.Perfect (2019), she widened her lens, creating a montage of live-streamers living across China entirely from desktop recordings of their broadcasts. […]

On the shuttle from the airport into Berlin I snapped some pictures as we passed Brandenburg Gate, Victory Column and the Television Tower. My hotel was just a few blocks from Checkpoint Charlie, so several times a day, as I made my way to and from Potsdamer Platz, I would walk over the brick-drawn lines in the sidewalk that mark the former location of the Berlin Wall. East into west, west into east—that and a meal with friends at Stadtklause, the pub where Bruno S. would perform with his accordion, satisfied whatever interest I had in playing tourist. Except for […]

Two days into my first trip to Berlin, I haven’t quite got my bearings yet—for the physical landscape of the fest or for the sprawling program, which includes more than 340 films from 71 countries. Along with being a milestone year for the Berlinale (the 70th), this is also the 50th anniversary of Forum, the festival’s program of boundary-pushing work, and the first edition under the co-leadership of Executive Director Mariette Rissenbeek and Artistic Director Carlo Chatrian. Rissenbeek joined the fest after nearly four decades in the German film industry; Chatrian moved to Berlin from Locarno, where he’d served in […]

Editor’s note: with The Plagiarists opening at Lincoln Center this Friday, we’re reposting Vadim Rizov’s interview with its creative team. Note that since the Berlinale premiere, it’s been confirmed that Peter Parlow is a fictitious person. On one level, The Plagiarists is a two-part comedy about a ceaselessly fighting couple, the first half of which takes place in winter. Anna (Lucy Kaminsky) is a novelist, at least aspirationally—completion of her first novel is a ways off, so she pays the bills as a copy writer. Tyler (Eamon Monaghan) is a filmmaker, but doesn’t think he can call himself that—he’s written a script, but that’s […]

“Through images of natural turmoil the viewer gets the idea that societal events are just as unavoidable as any flood disaster. Constantly receiving outbreaks of natural violence served up as news, the spectator automatically transfers natural laws of causality to human conditions and inevitably ends up mistaking the crisis of the capitalist system for a geological tremor.” — Siegfried Kracauer, “The Weekly Newsreel” in Die neue Rundschau 42, no. 2, October 1931 This year’s Berlinale was marked by two retroactively related occasions. The first one, celebrated by a retrospective, was the centenary of the Weimar Republic, that liminal space that historically divides […]

Thomas Arslan’s flaccid anti-Western Gold, which screened here in Competition four years ago, spoiled what could have been a brilliant hat-trick for the Berlin School alumnus following Vacation and In the Shadows. With Bright Nights he’s back in great form, once again showcasing his flair for precise, intimately scaled dramas. Like his compatriot Maren Ade’s Toni Erdmann, a quick synopsis of Arslan’s film makes it sound like standard feel-good Hollywood fare: after his estranged father dies, the protagonist Michael decides to try and reconnect with his own teenage son Luis, whom he barely knows, and takes him on a road trip, embarking on a journey towards […]

In Mike Ott’s California Dreams (which I reviewed here), five aspiring actors are shown giving auditions and later acting out scenes in a film-within-the-film. Although this nested film is supposed to be a fiction, and also looks like one thanks to the gorgeous work of cinematographer Mike Gioulakis, the script is drawn – or appears to be drawn – directly from the actors’ biographies. One of the fascinating aspects of California Dreams is that Ott never allows you to know for certain how much is real and how much is fabricated. It was therefore a pleasure to be able to […]