Berlin 2014 №3

DAILY FEBRUARY 8 , BERLIN 2014 №3

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Herzog’s God Lures Tyson, Anderson By Stuart Kemp ike Tyson is in talks to star as an axe M murderer in Werner Herzog’s adaptation of DBC Pierre’s Booker Prize-winning coming-of-age novel Vernon God Little. Producers also are in talks with Pamela Anderson and Russell Brand to join the cast of the project which has Austin Abrams in the title role opposite Sasha Pieterse. The book tells the story of a teenager whose world falls Activists set up camp at Potsdamer Platz apart when his best friend, in protest of Russia’s anti-gay law Feb. 7, Jesus Navarro, murders their lighting an Olympic-style “rainbow flame” that will burn for the next 16 days classmates in the schoolyard, while the Sochi games take place. and Vernon is taken in for questioning. The story unfolds with Vernon existing in a hyper-real world of accusation Bum’s Rush! Sinclair and East Out? and betrayal. After six years at Exclusive Media, the veteran indie film execs likely will be bought out as a result Producer Katya Eichinger, of disappointing box office from Ron Howard’s racing picBy Pamela McClintock and Stuart Kemp CONTINUED ON PAGE 6 dramatic showdown is underway at Exclusive released the movie. KEVIN Media, where co-chairmen Nigel Sinclair and It doesn’t appear that Dasym is pulling out of A Guy East are being forced out following a Exclusive but instead has decided to replace East SMITH’S major financial hit incurred because of Ron Howard’s and Sinclair. Formula One drama Rush. Shipper, Exclusive’s COO, and Oakes, vice chair- TUSK SELLS Dasym Investment Strategies, the multibillion- man of Exclusive, both have ties to Botman. By Pamela McClintock dollar Dutch investment fund that has a majority In 2007, Oakes and Shipper bought iconic British arking the biggest stake in the leading production, financing and sales horror label Hammer Films with backing from Hollywood studio company, are in exit discussions with East and Cryte Investments, a predecessor to Dasym. A year M deal so far at Berlin’s Sinclair, according to insiders. The duo, with long- later, again with Cryte’s help, they bought East and film market, Sony Pictures time ties to the independent film business, formed Sinclair’s Spitfire Pictures, which led to the forma- Worldwide Acquisitions has Exclusive in 2008 with Mark Shipper and Simon tion of Exclusive. Today Oakes serves as CEO and snapped up director Kevin Oakes. Dasym invests on behalf of media tycoon president of Hammer. Smith’s modern-day monster John De Mol, among others. Sinclair and East each have a stake in Exclusive pic Tusk for much of the There’s been conflict between East, Sinclair and and will have to be bought out. It’s possible they will world. The deal was struck Dasym higher-ups, including founder and CEO transition into a producing deal. Representatives with XYZ Films. Frank Botman, since Rush underperformed at the from Dasym, including Mark Ramakers, who has A24 Films already had U.S. box office last fall, taking in only $26.9 million. taken over a lot of the oversight of Exclusive from scooped up domestic rights, It did better overseas, earning $63.3 million, but Botman, have been in Exclusive’s Los Angeles and will release Tusk in the- that wasn’t enough to stem a loss, which sources say offices for the past two weeks, according to sources. aters this fall. is in the $10 million range. Exclusive declined specific comment, but SPWA has bought Tusk for Exclusive co-financed the $50 million film — issued a statement addressing the possibility of the U.K., Canada, Australia, starring Chris Hemsworth and Daniel Bruhl — with new management. “Exclusive Media’s management New Zealand, Latin America, Brian Oliver’s Cross Creek Pictures, but ended up is engaged in collaborative discussions with our part- Italy, Benelux, Scandinavia, putting up between $20 million and $30 million ners from Dasym Investment Strategies BV regard- CONTINUED ON PAGE 6 to market the film in the U.S., where Universal CONTINUED ON PAGE 6 JOEL RYAN/INVISION/AP

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day3_newsE.indd 1 2/7/14 8:19 PM theREPORT

HEAT INDEX Silver Bear Winner Turns Asylum Seeker ‘Bosnia betrayed me,’ says the star of An Episode in the Life of an Iron Picker By Scott Roxborough azif Mujic was the toast of the Berlin festival last year, winning the Silver Bear for Danis N Tanovic’s An Episode in the Life of an Iron Picker. A year on, the Romani man from Bosnia is back in the German capital, this time seeking asylum for himself and his family. A nonprofessional actor, Mujic played himself in Tanovic’s drama, which recounts his real-life strug- CARL WOEBCKEN The Babelsberg CEO has three gles as a scrap-iron collector whose wife suffered films in the lineup, The Grand a miscarriage. When the family sought medical Budapest Hotel, The Monuments Men Mujic and his family help, they were turned away from Bosnian hospitals showed off his and Beauty and the Beast, a record Silver Bear at home for the German studio. because they belong to the Roma ethnic minority. in Bosnia last year. Iron Picker won two Silver Bears at the 2013 Berlinale — one for Mujic as best actor and another want an ordinary job, a chance to feed my family,” for the film itself. The film also made the Oscar Mujic said. “I would give them my Silver Bear if long list in the foreign-language category. that is what it costs to be able to stay.” But when Mujic returned to Bosnia, he was The Berlin festival says it has been inundated with ostracized. His former colleagues, reportedly offers to help — and several job offers for Mujic — convinced he was a big star, pushed him out of since his plight became known. For the moment he is his old job and he was reduced to going through the surreal experience collecting garbage. A back injury FOR NONPROFESSIONAL of getting the red-carpet treatment forced him to leave that job. His ACTORS, ESCAPING THE during the day, before returning to a VLADIMIR PUTIN PAST CAN BE A CHALLENGE During the Sochi Olympics opening family was so poor, “we couldn’t refugee shelter to sleep. ceremony Feb. 7, Potsdamer Platz is taken even buy food,” Mujic told journal- HAING S. NGOR The Khmer “The opening-night gala was over by hundreds protesting the Rouge survivor, who won a ists at a press conference Feb. 7. supporting actor Oscar in amazing. I felt like I was walking Russian president’s anti-gay stance. 1985 for The Killing Fields, What’s more: There’s not a single Russian That’s when he decided to return to was murdered by members of on clouds,” said Mujic, recalling film in this year’s Berlinale. Berlin. Germany rejected his asy- a Cambodian gang in L.A. in 1996. the Feb. 6 premiere of Wes lum application, but the Berlinale AZHARUDDIN MOHAMMED Anderson’s The Grand Budapest ISMAIL The then-10-year- has stepped in to help, taking up a old went from the slums of Hotel. His mood soon darkened. collection to pay for an immigra- India to 2009 Oscar winner If his petition for residency is Slumdog Millionaire — and tion lawyer and inviting the entire then back to the slums. rejected, Mujic said he would seek family to attend this year’s festival. asylum in other European coun- FELICIA “SNOOP” PEARSON Mujic’s lawyer has filed a petition to Born a crack baby, Pearson tries. But he vows never to return served time for second- grant him residency status, which is degree murder before home. “Bosnia betrayed me,” he under review. earning raves in HBO’s The said. “I will not go back. I would Wire. In 2011 she pled guilty to “I don’t want to be rich, I just conspiring to distribute heroin. rather hang myself.” BRADLEY COOPER The American Hustle star’s Feb. 6 visit to the offices of tabloid Bild, In Cell, based on the novel by Stephen Germany’s most-read daily, pays off: King, a mobile phone signal starts “Global Star! Comedy King! World’s reprogramming minds. John Cusack Exclusive Sexiest Man!” gushes the tabloid. (second from right, with Isabelle First Look Fuhrman, Samuel L. Jackson and Owen Teague) is joined by a group of survivors trying to fend off the know your dealmaker bloodthirsty “phoners.” International Film Trust is selling the film at EFM.

Suh Young-joo Finecut The CEO of the South Korean company has been a very busy woman at the Berlinale, snapping up international rights to the drama Night Flight and pre-selling the thriller Sea Fog (Haemoo) to France’s Wild Side Films and to Twin Company for Japan. She also pre-sold Rough Play, produced by Kim Ki-duk, to Klockworx in Japan and Hwa Yea Multimedia in Malaysia. To top it off, Finecut signed up Red Family, also produced by Kim, to Gaga Corporation in Japan.

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day3_news2C.indd 2 2/7/14 6:59 PM Cairo Film Fest D3 020814.indd 1 2/7/14 9:45 AM theREPORT

Salma Hayek Boards Shiraz THE 2014 BERLIN POSTER AWARDS By Borys Kit Huh? alma Hayek and Shohreh THR pays tribute to the most amusing and over-the-top Edition Aghdashloo are attached promotional materials at the European Film Market S to star in Septembers of Shiraz, Millennium’s adaptation of a novel by Dalia Sofer. Wayne Blair, who last helmed The Sapphires, is directing the drama, which is quietly being sold at Berlin’s EFM. Gerard Butler is producing with Alan Siegel and Heidi Jo Markel. The thriller tells the story of a Jewish family caught in the Islamic revolution in 1981 Iran. The tale centers on an imprisoned gem dealer, his wife and their two children as they try to come together and escape deadly tyranny. Sofer herself was 10 when her family escaped Iran. Avi Lerner, Trevor Short, Boaz Davidson, John Thompson Most Inaccurate Biopic Best Explanation of the Birds and the Bees Hayek and Mark Gill are Kauboji (Croatia) Taeter City (Italy) exec producing Leave it to the Croatians to screw up a Village People MOTHER: “You see, honey, when Daft Punk and the team is biopic. Sure, they’ve got the cop and the cowboy, and Robocop love each other very much, eying a produc- and the guy in the bowler hat might be able to pass they make a big-breasted baby who rides around tion start in as the construction worker. But where is the town cutting the fingers off people.” April. chain-clad biker? And don’t even get us started on DAUGHTER: “Huh?” the absence of the naked Indian. MOTHER: “Maybe you should go ask your dad.” Transporter Reboot Gets Greenlight By Scott Roxborough and Clifford Coonan uc Besson’s EuropaCorp is going ahead with L a reboot of its hit Transporter franchise, green lighting the first — Transporter 4 — and laying plans for two follow-ups. Transporter 4 will be co- produced with Mark Gao’s Shanghai-based Fundamental Films. If it performs as expected, Transporter 5 and 6 will be set up as official Chinese co-productions to get easier access to that country’s booming box office. Jason Most Misleading Use of Animal Costumes Best Use of Sexual Innuendo Statham will not reprise his WTF (France) Afro Tanaka (Japan) role as iconic driver Frank Attention, furries: This movie Cute Asian Girl is head over heels for Afro Tanaka, Martin. EuropaCorp is shop- is not what you think it is. who is rumored to have “huge desire in huge afro.” ping the reboot to interna- We’re not sure what that means, but we’re fairly tional buyers at the European confident there’s a penis joke in there somewhere. Film Market.

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day3_news3D.indd 4 2/7/14 6:48 PM GLOBAL SCREEN PRESENTS

HANNAH FLORIAN HENRIETTE HERZSPRUNG STETTER CONFURIUS BELOVED SISTERS The Secret Story of Schiller’s Passion

A FILM BY DOMINIK GRAF

BERLINALE PALAST FRIEDRICHSTADT PALAST CINESTAR 2 SAT | FEB 08 | 08.30 H PRESS SCREENING SUN | FEB 09 | 10.00 H FESTIVAL SCREENING MON | FEB 10 | 17.30 H MARKET SCREENING BERLINALE PALAST HAUS DER BERLINER SAT | FEB 08 | 21.30 H GALA PREMIERE SUN | FEB 09 | 19.30 H FESTSPIELE FESTIVAL SCREENING

CONTACT AT EFM CONTACT IN MUNICH

GS_THR_2RHP_BS_244,99x329,99_feb08_RZ.inddUntitled-8.indd 1 1 07.02.142/7/14 09:462:53 AM theREPORT

Sinclair and East CONTINUED FROM PAGE 1 ing the forward plan for the company. We will make an announcement regarding the outcome of these BERLINALE BRIEFS discussions at the appropriate time,” Sinclair said in the statement. EDUARDO SANCHEZ’S Sinclair and East are widely respected in the EXISTS SELLS WIDE independent community and have worked together EOne has picked up multiple ter- for two decades, first at Intermedia and then at ritories for Eduardo Sanchez’s Spitfire. And while Rush may have been a financial (Blair Witch Project) found-footage disappointment, Exclusive’s success stories include horror film Exists, taking the title

George Clooney’s The Ides of March, End of Watch, Sinclair (left) in Germany, France, Benelux, Snitch and The Woman in Black, a low-budget Daniel and East have Scandinavia and South Africa. EOne worked together Radcliffe horror movie that grossed a whopping for two decades. previously bought U.K. rights for $127 million worldwide in 2012. the Bigfoot-themed chiller from News of the shakeup rocked Berlin’s European Hoffman was to have directed Amy Adams and Jake world sales agent International Film Market on Friday, as veteran executives on the Gyllenhaal in the movie. Following the actor’s death Film Trust at the American Film ground said they don’t believe Exclusive is going Feb. 2, Exclusive announced the project was being Market in November. IFT also sold away. The company’s sales chief Alex Walton is shop- put on hold. Exists to Japan (AT Entertainment), ping several high-profile Exclusive-backed projects, Sinclair, a Scotland-born entertainment attorney, the Middle East (Shooting Stars), including the Whitey Bulger biopic Black Mass star- first met the British East in 1988 while hustling for Taiwan (Well Go) and CIS (Luxor) ring Johnny Depp. Black Mass was put on hold last business at L.A.’s Bel Age Hotel (now The London). among many other territories. year when Depp fell out of the film, but it is now Sinclair began representing East, who ran the back on, with the actor once again in the lead. London-based Majestic Films, and in 1995, East MEMENTO BACKS On Jan. 31, Exclusive snagged one of the highest- persuaded Sinclair to leave behind a client list that BILL PAXTON’S BOTTOMS profile projects heading for Berlin, the Prohibition- included Mel Gibson and Ridley Scott to form produc- French distribution and interna- era drama Ezekiel Moss. The late Philip Seymour tion-finance company Intermedia. tional sales company Memento Films’ young production banner Paradise City will produce actor-director Bill Paxton’s next Herzog Kevin Smith ROB COHEN project, an adaptation of author CONTINUED FROM PAGE 1 CONTINUED FROM PAGE 1 TO DIRECT Joe Landsdale’s gothic thriller whose late husband, Bernd, Eastern Europe, South Africa, The Bottoms. Set during the bought the movie rights to the Portugal, Spain and Greece. HEIST PIC Depression, The Bottoms tells the By Stuart Kemp novel, is aiming Additional territories have yet story of a series of racially moti- to mount the to be announced. ob L. Cohen, whose vated murders in East Texas as seen production in the Tusk, also written by Smith directing résumé through the eyes of local children. U.S. and Mexico and born out of one of his R boasts The Fast and The book received several awards this summer with immensely popular podcasts, The Furious and XXX, will when it was published in 2000.

Tyson Mexico’s Canana stars Justin Long, Haley Joel helm action heist thriller Risk. Films, co-founded Osment, Genesis Rodriguez and The project, slated to go into JAY BARUCHEL JOINS by Diego Luna, Michael Parks. The horror film, production this sum- STEPHEN KING’S PEOPLE fellow actor Gael currently in production, stars mer, is being sold RoboCop’s Jay Baruchel has signed Garcia Bernal and Long as a journalist who finds to buyers during on to star in and executive produce producer Pablo the story of a lifetime in Mr. EFM by Belgian the film adaptation of Stephen

Anderson Cruz, aboard as Howe (Parks), an adventurer Cohen film group King’s short story The Ten O’Clock a co-production with amazing tales and a curi- uMedia’s interna- People. Tom Holland, the hor- partner. Stefan Arndt of X-Filme ous penchant for walruses. tional sales division, under the rormeister behind Fright Night and will produce with Eichinger. Demarest Films, whose watchful eye of group CEO Child’s Play, wrote the script and In the film written by Andrew credits include A Most Wanted Adrian Politowski. will direct the chiller, which is eye- Birkin (Perfume), Abrams will star Man, financed and produced The film follows a talented ing a June start in Baruchel’s home- opposite Pieterse, who’ll play his Tusk in partnership with A24. thief as he is released early town of Montreal. Pascal Borno love interest, while Brand will XYZ is handling international from prison for one reason and Scott Karol’s Conquistador take on the role of a scheming sales and introduced the proj- only, to execute a nearly Entertainment will be selling the newspaper reporter looking for ect this week to foreign buyers impossible, once-in-a-lifetime project at EFM. The story follows an angle on the story. Anderson at EFM. art heist. a smoker (Baruchel) who returns will play an undisclosed role in Producers are Sam Reluctant to follow the to his old habit with a cessation the film. Tyson’s character deliv- Englebardt, William D. Johnson same path that put him in jail drug still in his system, triggering a ers the line in the novel that gives and David Greathouse for in the first place, he is drawn side effect that reveals a frighten- the book and film its title. Demarest and Shannon into a dangerous triangle ing reality in which many people in Hanway is hawking worldwide McIntosh for Smith’s SModcast between his crime boss and authority are monsters. rights to the project at EFM. The Pictures banner. Jennifer his accomplice — a beauti- U.S. partner is dependent on the Schwalbach and XYZ’s ful, mysterious woman whose CORRECTION Bong Joon-ho’s equity partner the backers sign a Nate Bolotin are executive motives remain unclear until Snowpiercer has not yet been released deal with. producers. the explosive ending. in the U.S. (THR Berlin Daily 2/7/14) CHRISTOPHER PATEY

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day3_newsE.indd 1 2/7/14 8:19 PM SC FILMS BERLIN 2014 SCREENINGS INTERNATIONAL

JUNGLE SHUFFLE (3D): MARKET PREMIERE THE LAST SHOWING: MARKET PREMIERE

Monday 10th Feb 17:00 CineStar 6 Sunday 9th Feb 13:45 CineStar IMAX

BERLIN: UK FILM STAND, MGB #39, Stand tel: +49-30-863-950-446 Simon Crowe (CEO) t: +44 7764-942-149 e: [email protected] Fumie Suzuki Lancaster (Sales & Marketing Director) t: +44 7804-632-427 e: [email protected]

SC Films D3_020814.indd 1 1/31/14 8:44 AM Screening: 10.02 - 14:00 - CineStar 1

10.02 - 14:35 - CineStar 1

Screening: 11.02 - 13:20 - CinemaxX 11

Screening: 11.02 - 11:30 - CinemaxX 14 Contact: [email protected] - www.allrightsentertainment.com World Sales: All Rights Entertainment - EFM Sales Office : MGB 147 Hong Kong Office: 130 Wing Lok St- Sheung Wan - Hong Kong - T el : +852 2388 6007 - Fax : +852 2544 8003 Paris Office: 33 rue Bonaparte - 75006 Paris - France - Tel: (+ 33) (0)9 51 07 33 00 - Fax: (+ 33) (0)1 47 27 54 92

All Rights Entertainment D3 020814.indd 1 2/6/14 10:51 AM Screening: 10.02 - 14:00 - CineStar 1

10.02 - 14:35 - CineStar 1

Screening: 11.02 - 13:20 - CinemaxX 11

All Rights Entertainment D3 020814.indd 2 2/6/14 10:51 AM About Town

3 Opening-NightFEB. 6 Gala

1 “I’m David Bowie,” said The Grand Budapest Hotel’s Tilda Swinton (in Schiaparelli Couture), by way of explanation for her new hairstyle. She was joined at the film’s premiere by her co-stars Jeff Goldblum (center) and 4 Willem Dafoe. 2 Director Wes Anderson was flanked by his Budapest stars Bill Murray (left) and newcomer Tony Revolori. Murray arrived with a massive martini glass, which he drained in one gulp before hitting the carpet. 3 Budapest’s Saoirse Ronan (in Valentino) and Ralph Fiennes, who stars as Gustave H, dedicated hotel concierge and lothario. 4 Lea Seydoux (in Prada), who also has Beauty and the Beast screening out of competition at the fest, plays a bakery worker in Budapest. 5 The film’s Edward Norton with his wife, producer Shauna Robertson. 6 German Victoria’s Secret model Toni Garrn at the premiere.

5 6

THE HOLLYWOOD REPORTER 10 RYAN/INVISION/AP ANDREAS JOEL RENTZ/GETTY CHARRIAU/WIREIMAGE; DOMINIQUE IMAGES;

day3_redcarpetB.indd 1 2/7/14 2:17 PM Carnaby D3_020814.indd 1 2/5/14 9:25 AM “What we do is provide EXECUTIVE SUITE escapism,” says Nestel, who was photographed Jan. 23 in his Hollywood office. “If we can give people two hours of their life when they can get away from their problems, that’s really important to us.” CO-FOUNDER AND PARTNER, THE SOLUTION ENTERTAINMENT GROUP Myles Nestel The self-described James Bond freak on the parallels between moviemaking and real estate and how to slash a budget fast (shoot in Serbia) By Pamela McClintock

ROWING UP IN LONDON, MYLES Nestel spent his summer holidays ensconced at his dad’s postproduc- G tion company in Soho. Nestel, 45, fell in love with the movie business, but he also loved number crunching, so after graduat- ing from the London School of Economics, he embarked on a career in film financing, moving in 1996 to Los Angeles for British bank NatWest before doing stints at various saying that A24 wanted to close the deal. I but we rewrote it so that we could shoot it in companies, including Cobalt Media. Next, said, “Can’t I wait until the movie ends?” and Serbia, which was significantly cheaper. he raised $100 million on Wall Street and he said, “No,” so I ran back up to our house. launched Oceania Media. Today, he and UTA and CAA closed the deal around 2 a.m. How would you describe your brand? veteran sales agent Lisa Wilson run The The name Solution is very important to me, Solution Entertainment Group, a financ- Was it nerve-racking? because it’s what we do. When producers ing, production and foreign sales boutique No. It was a really good high. As a deal guy, come to us and they don’t know how to put that has burst onto the scene with a slate that’s what you love. Cooties took a little their movies together, we help them. We of films including two 2014 Sundance titles longer, but Lionsgate is the right distribu- want to make quality theatrical-level product that quickly have found U.S. homes, the dark tor. What’s great is that every movie we’ve that has longevity and franchise-ability in comedy Laggies and Cooties, a horror-comedy financed or been involved in now has a U.S. certain cases. from Solution’s genre label Synchronicity. theatrical release. The Solution and its strategic partner Siren Is November Man a potential franchise? Studios have set up a $50 million revolving When are you going to start shopping Yes. And Cooties has franchise possibilities. equity fund to finance six to 10 movies a year The November Man? And in June we’ll start shooting Mara with (Siren also provides overhead). In addition I’m not sure. It’s one of those movies [Oblivion’s] Olga Kurylenko, which is a great to its own slate of films, Solution represents that plays great with an audience. Pierce horror franchise that we’re financing. international rights to third-party titles, such [Brosnan] is back to spy mode. I like to think as Infinitely Polar Bear, another Sundance this is the James Bond he always wanted to Why do people with money still want to invest film that Sony Pictures Classics has picked play. The character isn’t so debonair and his in movies? up for the U.S. and that Wilson is selling in edges are slightly rougher. I’m kind of a Bond It’s exciting and glamorous. Everybody wants Berlin. Nestel sat down with The Hollywood freak, so this is a passion project. to be in Hollywood, right? A lot of real estate Reporter to talk about his induction into people get into the movie business, because Sundance and why the company’s upcoming What is the biggest challenge right now in terms real estate is similar. The architectural plans spy thriller The November Man features Pierce of film financing? are the script, and just as you pre-lease your Brosnan as the James Bond-like character I think it is relatively straightforward. We’ve building, you pre-sell your film through Nestel always wanted to see. been very successful because Lisa [Wilson] foreign sales. And the building process is like and her team have a great nose for product, shooting. I’ve never been more positive about Lynn Shelton’s Laggies, starring Keira Knightley, and if you get great product that can attract the amount of capital there is. Knowing the sparked a bidding war at Sundance before U.S. cast and a director. The critical thing we people we are in business with and know- rights were picked up by A24 for an estimated bring to the table is budget discipline. Movies ing the balance sheets they control, it’s very $2 million. How did the project come about? live or die by their budget. The new dynamic interesting because in some ways it’s more We saw an article about the project’s is not, “Oh, I can make this movie for $12 mil- positive than it’s been in the past 10 years. announcement and called CAA. The next lion, here’s $12 million.” It’s, “This movie has day, we met with Anonymous Content and to be made for $6 [million],” and then you Do you miss England? committed to financing it. make it work. When I first started off, I wanted to be a big producer and get England out of its cottage- Sundance is famous for its all-night dealmaking What is the range of your budgets? industry status. But that didn’t happen. I fig- sessions. Did that happen with Laggies? We’ve done everything from $1 million to ured I’d do it in L.A. instead. And then once The official offers didn’t come in until the day $30 million. I would think the max for an you’re here for a couple of years, your blood after the premiere. We had six or seven. I don’t independent movie — unless you are mak- thins and the weather is too cold anywhere think I left the room on Saturday. That night, ing a Martin Scorsese movie — is $40 mil- else. (Laughs.) But seriously, for me and for I was at the midnight premiere of Cooties and I lion to $45 million. You have to be creative. what I do, L.A. is the place to be and I can’t got an email from [UTA agent] Rich Klubeck November Man was originally set in Berlin, go back. Maybe one day. GROOMING BY SU HAN FOR KLARIF DEW AT BEAUTY AGENCY

PHOTOGRAPHED BY Christopher Patey

day3_execsuiteC.indd 12 2/7/14 3:22 PM World Premiere Sat, 8-FEB 8:00 PM Cinestar X 7

Sun, 9-FEB 10:45 PM Cinestar 3 Festival Mon, 10-FEB 8:15 PM Cubix 7 & 8 Festival Tue, 11-FEB 12:50 PM CinemaxX 2 Market Thu, 13-FEB 5:45 PM Cinestar 3 Festival Sat, 15-FEB 12:00 AM Cinestar 7 Festival

MGB 2 BERLIN OFFICE

Feb8_unfriend.indd 1 2014/2/5 �� 12:55 Fortissimo Films D3 020814.indd 1 2/6/14 10:31 AM FILM FIGHT! A FINANCING SPAT ENTERS ROUND 2 German-Russian relations cool as the closure of a co-development fund leads to a collapse of trust between the two once-active partners BY NICK HOLDSWORTH ELATIONS BETWEEN RUSSIAN AND changes and the termination from the Russian side. SPECIAL German film funders are in a bad way. We regret this, since the co-development fund had just FEATURE After a year in which international started to produce results, increase production and co-production suffered a series of attract partners from both sides.” politically motivated blows in Russia, It was a decision forced by an increasingly obstructive RGermany — historically among the most active co- arts policy that emerged after last year’s takeover of production partners for Russian filmmakers — has lost Russia’s main film funding body, the Cinema Fund, by its appetite for the vicissitudes of Kremlin arts policy. the Ministry of Culture, headed by Vladimir Medinsky. The formal closure in mid-December of the German- A historian known for ideologically tinged tomes that RUSSIA Russian Development Fund — a body set up just blame Western propagandists for stereotyping Russia 18 months prior — signaled the end of a filmmaking as a country of drunkards and crooks, Medinsky is a Illustration by partnership that had helped realize dozens of projects. Vladimir Putin loyalist bent on reshaping the country’s KYLE HILTON Features and documentaries that benefited from the image through patriotic films. He pushed out former $205,000 in annual subsidies included Veit Helmer’s Cinema Fund head Sergei Tolstikov, who warned that Baikonur, Alexei Uchitel’s Stockholm Syndrome, Bakur days of “ideological censorship” were approaching, and Bakuradze’s General and Jos Stelling’s The Girl and replaced him with his own protege, Anton Malyshev. Death, a three-country project that included the direc- The Cinema Fund was reduced to doling out cash tor’s native Holland. according to the ministry’s agenda. When its interna- Announcing the death of the fund, Germany’s FFA, tional affairs head, Yelena Romanova, was fired and her a national funding body, and top regional funds Berlin- department scrapped in January, foreign co-production Brandenberg and MDM out of Leipzig — the most partners were left without a clearly identifiable point of active backers of co-productions with Russia — said: contact for their projects. Medinsky then introduced a “The reason for closing the co-development fund is the raft of new hurdles for international producers seeking reorganization of Russian film production, personnel state funds, key among them open pitch sessions. While

THE HOLLYWOOD REPORTER 14

russia_berlinF.indd 1 2/7/14 11:20 AM NINE DAYS AND ONE MORNING 22 MINUTES YOLKI 2014 Drama, 85 min Action, 120 min Сomedy, 97 min INTERCINEMA AGENCY CENTRAL PARTNERSHIP BAZELEVS DISTRIBUTION MARKET SCREENINGS SCHEDULE SALES HOUSE 08.02/14:50 — CinemaхХ Studio17 11.02/12:20 — CinemaхХ Studio17

ANOTHER YEAR THE SNOW QUEEN II: THE SNOW KING MY OWN PERSONAL MOOSE Romance, 107 min Animation, 80 min Animation, 16.5 min ANTIPODE SALES&DISTRIBUTION WIZART ANIMATION METRONOMEFILMS MARKET SCREENINGS SCHEDULE MARKET SCREENINGS SCHEDULE SELECTION GENERATION 10.02/17:00 — Marriott 2 09.02/10:00 — Marriott 3 Kplus of 64 BERLIN FILM 11.02/14:45 — Marriott 1 11.02/16:40 — Marriott 3 FESTIVAL

BROTHERS CH VYSOTSKY. THANK YOU ODNOKLASSNIKI.RU Drama, 106 min FOR STAYING ALIVE (CLASSMATES.RU) PASSANGER FILM STUDIO Baiopic, 128 min Comedy, melodrama, 97 min FILM DIRECTION RUSSIAN WORLD VISION/ ART PICTURES

Day3 Tvorchestvo.indd 1 2/6/14 8:14 AM RUSSIA SPECIAL FEATURE

on the face of it a transparent and democratic process, claimed there were few Germans in Moscow in 1940 and the sessions are held in tiny rooms without enough objected to a portrayal of events that conflicts with the space to accommodate the committee of experts official sanitized version, which deifies Russia’s wartime charged with approving cash pledges or a ministerial sacrifice and struggle against fascism. presence to greenlight or veto. Months of wrangling ensued before a compromise The death knell for German-Russian relations came was struck and funding was approved provided the last July, when Medinsky decided against backing Dear director made significant changes to the histori- Hans, Dear Peter, directed by Alexander Mindadze. cal context. German funding bodies privately were The film, based on true events, is the story of two men appalled at the decision, while the project’s principals — one Russian, one German — vying for the love of a are doing what they can to work with the compromise. Muscovite woman at a time when Stalin’s Soviet Union “Co-productions are never easy, but I am still working had a close relationship with Nazi Germany. After war on the film and it looks like we shall get the money here Medinsky breaks out in 1941 following Hitler’s unprovoked attack in Germany,” Deckert says. on Russia, the German character returns to Moscow, Director Mindadze — whose script is, Deckert says, this time as an enemy officer in the German army. more of a “universal love story” than a political drama The project, co-produced on the German side by — claims he will retain the essence of his story despite Heino Deckert, won overwhelming support at the pitch the pressures. He also hopes that by the time shooting session from the committee of experts, who voted to fund begins there may be a thaw in Russian cultural policies, the Russian share of the budget. But Medinsky overruled allowing him to return to his original premise. the committee on the grounds that the But the damage done to German- film was “historically inaccurate.” He Russian relations may not be so easily mended. Simone Baumann, a Leipzig- based producer who in Russia represents HOW TO TAP German Films, a national promotional RUSSIAN STATE body, says relations have cooled. “The MOVIE MONEY national fund and major regional funds will fund German-Russian co-productions Chagall-Malevich offers one in the future, if the package and artistic strategy: hire a director the Russian quality is outstanding,” she says, “but there Cinema Fund can’t say no to won’t be a focus on co-productions any- It’s a story of love and passion, hatred more, unless there is evidence of significant and egoism, the clash of huge creative Chagall-Malevich interest from the Russian side.” personalities. Chagall-Malevich, which The fate of the German-Russian is set for a closed, industry-only EFM in what is now Belarus, the story is a Film Academy — a body that encourages training premiere screening in Berlin, may be the lavish costume drama and a modern and professional development, set up before the co- exception that proves the rule about morality tale that takes place at a time development body became defunct — is under review, the current precarious state of Russian when civil war was sweeping Russia in with bilateral meetings scheduled during the Berlin co-productions. the wake of the October Revolution of Film Festival, she adds. The $7 million drama, directed by octo- 1917. Fomina says the sheer enthusiasm Medinsky’s actions destroyed years of work to build genarian Alexander Mitta, whose career of the director-producer team boosted mutual trust and cooperation, she says. “From the stretches back to Soviet times, largely and even at times threatened the project. point of view of the German film funds, after 10 years was funded by an anonymous Russian “They were so eager to make the film, of negotiations and getting some great projects off the businessman, but also was supported by they did not always understand the need, ground, to simply stop everything — virtually overnight a $1 million grant from the Russian Cinema for example, to get permission from the — without any consultation, let alone a simple conver- Fund. Raisa Fomina, the film’s sales agent estate of Chagall or to clear copyrights sation … loss of trust is inevitable. In these conditions, and an adviser to its unnamed backer, says for famous works of art seen in the film,” it is all but impossible to trust the reliability of Russian the Fund “could not turn down” a request Fomina says. “Fortunately they hired the partners and have faith in a long-term partnership.” by such a famous director as Mitta. company of [respected Russian director The Russian side argues that there has been a policy Mitta long had wanted to turn the and producer] Valery Todorovsky to help shift only in favor of domestic product and that they are story of Russian avant-garde artists make the film. It is a wonderful, beautiful, still open to business with foreign partners. Marc Chagall and Kazimir Malevich fantastic story that is both about the past In early January, Medinsky announced that in into a great screen epic. The mystery and the present.” 2014 full international cooperation would resume. backer is passionate about Chagall, the The almost childlike passion with which The Russian Cinema Fund would again be in charge Russian-born French painter who went the film was made reflects an opportunity of overseeing international collaboration and promot- into self-imposed exile in Paris after she feels is being overlooked in today’s ing Russian movies worldwide. “All international activi- becoming disillusioned with the Bolshevik Russia. “There are many wealthy people ties are given to the Fund,” Medinsky said, adding that Revolution. Malevich was a revolution- in Russia who would love to invest in film,” it “had more resources” for the job than the Ministry ary whose geometric abstract art made she says. “If the Russian ministry of cul- of Culture. him an early 20th century poster boy for ture could find some way to help nurture Whatever happens, at the moment, the big chill Bolshevism. He succeeded Chagall as that, to create favorable conditions, that shows few signs of thawing, and Baumann predicts the director of a short-lived but influential could be a true opportunity for our film number of co-productions could drop to one or two a group of Russian artists called UNOVIS. industry.” Fomina is looking to set the year. “Without an equal partnership, which means both Both men held equally passionate artistic world premiere of the film, which was pro- sides invest in projects from both countries, there will interpretations of the world. duced by ShiM-Film Pictures, at a major be a dead end,” she says. “Germany is still open; every- Set in Chagall’s birthplace of Vitebsk, festival later this year. — N.H. thing depends on the Russian side now.” — VLADIMIR KOZLOV CONTRIBUTED TO THIS STORY

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russia_berlinF.indd 2 2/7/14 11:20 AM ShiM-Film Pictures presents

an Alexander Mitta film starring LEONID BICHEVIN • KRISTINA SCHNEIDERMANN • ANATOLIY BELIY LEONID BICHEVIN KRISTINA SCHNEIDERMANN ANATOLIY BELIY SEMEN SHKALIKOV DMITRIY ASTRAKHAN DP SERGEY MACHILSKIY R.G.C. music ALEXEY AIGI sound editor OLEG TATARINOV art director EDUARD GALKIN editor ALLA STRELNIKOVA costume designer LUDMILA GAINTSEVA producers MAXIM KOROPTSOV ELIZAVETA LESOVAYA director ALEXANDER MITTA script ALEXANDER MITTA SHIM-FILM PICTURES PRODUCTION

______EFM Market screenings ______09.02 12.15 CinemaxX 17 11.02 18.40 CinemaxX 16

World Sales: INTERCINEMA AGENCY RAISA FOMINA, Director General Stand: CINEMA OF RUSSIA 109 MGB cell: + 49 160 91 36 61 02, +7 985 226 45 25 www.intercinema.ru email: [email protected]

Intercinema D3_020814.indd 1 1/27/14 11:18 AM CMG D3_020814.indd 1 1/31/14 11:42 AM REVIEWS

climb up the bell curve of fatalities as British soldier O’Connell is the Troubles gathered pace. Billeted on on the run in 1970s Belfast. folding cots in a reclaimed schoolhouse, Hook is advised by his corporal (Babou Ceesay) that he’ll “only be staying here ’til one of the paddies shoot you.” in competition in His words are unsurprisingly pro- phetic, for the very next day, the regiment is deployed to provide backup for the local police force, the RUC, as they search a house for hidden guns in the Catholic area near the Falls-Road front- line. (The location used was actually in Blackburn, England, which only just passes for period Belfast.) A riot soon comes to a full boil and Hook, trying to retrieve a rifle snatched by an urchin in a grubby sweater (even the knitwear choices are spot-on throughout) gets stranded behind the wrong side of the riot line. Suddenly he has to flee from IRA men bent on killing him. As Hook makes his way around the area with its burning vehicles, Molotov cocktails and near-deserted streets, the film starts to recall the dystopian urban nightmares of ’71 early John Carpenter (especially Assault on Precinct 13 and Escape from New York). And that’s not even having to take into account David This highly impressive first feature from Holmes’ Carpentarian score, all echo-laden guitars and droning, sub- Yann Demange takes place in 1971 Belfast, but it’s a sonic synths that heighten suspense. Hook falls first into the hands of thriller with universal relevance by leslie felperin the UDF — the Protestant paramilitaries, who seemingly take orders from a foul-mouthed 9-year-old boy (scene-stealer Corey McKinley) RAW YOUNG SOLDIER, TRANSPORTED TO A STRANGE — and then into the care of two Catholic Samaritans who don’t know city far from his homeland, gets accidentally left behind which faction of the warring IRA they should hand him over to. enemy lines by his regiment during a riot; wounded, lost By the end, Hook is on the run from just about everyone, not least and terrified, he becomes a pawn caught up in power some of his own army’s undercover counterinsurgents. Everything struggles between and within opposing factions in a bru- comes together in a nocturnal, multilevel game of cat-and-mouse in a tal,A senseless conflict. That’s the plot of ’71, a story that easily could rundown tower block, shot on digital stock that meshes beautifully in be set in any number of contemporary war zones — Afghanistan, say, the hands of DP Tat Radcliffe with the daylight sequences filmed on or the Central African Republic — but it happens to unfold in Belfast, 16mm. The cinematography is striking throughout, implementing fine Northern Ireland, in the year indicated by the title. As much an urban palette gradations so the look goes from cool, near-sepia tones in the thriller as a war movie that mostly unfolds over the course of one daytime shots to nacreous and surreal in the leadup to the climax. night, this outstanding, muscular feature debut from France-born, Known mostly for his TV work, including cult comedy series Man Britain-based director Yann Demange almost never puts a foot wrong, in a Box and multicultural crime drama Top Boy, Demange displays from the softly underplayed performances to the splendidly speckled impressive confidence here. A big part of his achievement resides cinematography and fine-grained period detailing. in the casting of such a veteran crew of character actors, but credit No one in the film’s cast is known much beyond British borders is due for coaxing such subtle performances, and for showing such (although that will change soon), which surely will affect the film’s restraint with what might have been strident material. There’s also asking price. However, international buyers from the U.S. and beyond a pinpoint-fine attention to detail here that’s consistently winning, are likely to be keenly interested in this very exportable nail-biter that from the slang of the dialogue to the credibility of the hair styles, for never takes sides in a conflict that still rumbles on to this day. The once eschewing the shaggy man wigs that ruin so many early-’70s- script by Gregory Burke evenhandedly depicts the stupidity, venality set movies. and all-around brutality of men from every faction of the Troubles, If the film has a flaw it’s that it doesn’t quite know when to stop, from the British Army to the internally-riven IRA to the Protestant and keeps stacking on conclusive moments on top of each other. But paramilitaries. It’s not exactly a cheerful subject, and yet despite all that’s a minor quibble against what otherwise looks to be one of the that the film still finds room for a mutedly hopeful denouement. strongest British films of the year. The anchor of the narrative is Derbyshire lad Pvt. Gary Hook (23-year-old Jack O’Connell, who’s finally starting to land leading roles Competition after a long run playing wayward kids and thugs). Hook is shipped out Cast Jack O’Connell, Paul Anderson, Richard Dormer, Sean Harris along with his regiment to Belfast, which in 1971 was just starting to Director Yann Demange // 99 minutes

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day3_rev_71B.indd 19 2/7/14 5:47 PM REVIEWS

vinced that they’ll just take it all home, she finally has a change of heart and, in the end, yearns only for one night with Damon’s Granger in exchange for her records. It turns out the loot is mostly hidden in mines, so it comes down to a race among the Americans, the Nazis and the Russians. But the contest is less suspenseful than it is self- sacrificing, uplifting and altruistic. No occa- sion is lost for one of the characters — most often Stokes — to deliver a speech about art’s incalculable value to the world. To the argu- ment that, “No piece of art is worth a son’s life,” Monuments Men ultimately proposes the contrary because great art should live on as an eternal reminder of what a civilization Damon (left) and Clooney stands for. are Monuments’ art saviors. Ideally, such a message would be implicit rather than so explicitly and repeatedly stated, but it’s as if Clooney and Heslov The Monuments Men either underestimate their audience or Director George Clooney falters in this look at mild-mannered middle-aged men actually suspect that, perhaps not knowing who thwart Nazi art snatchers during World War II by todd mccarthy who Rembrandt, Renoir, Cezanne or even Michelangelo were, modern viewers need Something less than monumental, The group of guys who are not so much misfits to be lectured on the importance of high Monuments Men wears its noble purpose on its as sedentary smarties too old to be drafted European culture. The film is bracketed by sleeve when either greater grit or more irrev- or put through basic training, which, in scenes in which Stokes has to convince two erence could have spun the same tale with fact, they have to endure since they’re likely different U.S. presidents of the very same. more punch and no loss of import. Agreeably to come under fire. There’s straitlaced art As the driving impulse behind the project patterned after classic World War II films in expert James Granger (Matt Damon), archi- thus seems to have been to honor the men which a small unit of guys trumps the enemy’s tect Richard Campbell (Bill Murray), sculp- without whom the legacy of Western art best-laid plans, George Clooney’s fifth big- tor Walter Garfield (John Goodman), French might have been gravely compromised, it screen directorial outing is a sympathetic art dealer Jean Claude Clermont (Jean may seem rude to suggest that the film would account of the U.S.-led effort to save treasure Dujardin), art historian Preston Savitz (Bob have been better had it backpedaled this troves of looted artwork hidden by Nazis bent Balaban) and British art wingman Donald sentiment in favor of a rougher, mixed-mood on destroying them as they retreat in defeat. Jeffries (Hugh Bonneville); they’re joined by drama with a more arbitrary attitude toward The Sony release is rather too relaxed for Sam Epstein (Dimitri Leonidas), a German life and death — or a more insouciant comic its own good, suggesting a more modest box Jew who will translate and drive. drama about some guys just getting the job office life than its cast might have indicated. Clooney and co-writer (and co-producer) done. Too much of the time, Monuments Men Postponed from its original year-end release Grant Heslov throw in mild humor here and falls into a compromised middle zone, not date due to reported delays in completing spe- there as the group tries to get in shape and urgent and only mildly amusing. cial effects, the film could inadvertently ben- Granger, who claims to speaks French, is Blanchett gives the most edge to her role, efit publicity-wise due to the recent discovery continually asked by the French to speak but even her character is held back a bit in in Germany of hitherto unknown collections English instead because his French is so bad. her dealings with Damon’s upstanding fellow. of art said to have been confiscated before and Arriving on the secured beach at Normandy Funnymen Murray and Goodman work within during the war. This is unlikely to be the last in July 1944, the men learn that their mission a subdued range for them, while Damon, of such findings, which merely underlines the is disdained by local brass, who feel that risk- Balaban, Dujardin and the others are fine but magnitude of the difficulty faced by the real- ing any life for the sake of art is absurd. do little surprising. Clooney gives most of the life figures on which the film is based. In Paris, they learn that the national collec- uplifting speeches but also has the film’s best To be sure, it’s a fascinating story, one tion is safe but that enormous collections of monologue, wherein he tells a captured Nazi touched upon in a central way only once mostly Jewish-owned art were confiscated by how he’ll read his obituary while eating at a before in a major Hollywood movie, John decree. It turns out that the Russians also are Jewish deli when he gets home. Frankenheimer’s sensationally good The trying to track it down but intend to keep the Cinematographer Phedon Papamichael, Train in 1964. Whereas that was a breath- art as recompense for war costs. Stokes knows production designer Jim Bissell and costume less thriller, Monuments Men is more of a some of the cities where it’s been stashed but designer Louise Frogley make strong con- procedural in which a band of middle-aged not the exact locations. Which is where Claire tributions to the film’s fine look, and some scholars, led by art historian Frank Stokes Simone (Cate Blanchett) comes in. good CGI work provides convincing vistas of (played by Clooney as a fictionalized version A prim, bespectacled Parisian, Claire wartime ruin. Alexandre Desplat’s score is of Harvard art conservationist George Stout), worked at the Jeu de Paume museum under uncharacteristically sentimental. receive the blessing of FDR himself to enter the Nazis, meticulously documenting the the war zones of Europe to do what they movements of all art objects (Goering was a Out of Competition can to save the Western art Hitler has been frequent visitor, replenishing his own collec- Cast George Clooney, Matt Damon, Bill Murray, amassing to fill his planned Fuhrer Museum. tion as well as that of the Fuhrer). Unwilling John Goodman, Jean Dujardin, Cate Blanchett In short order, Stokes puts together a to cooperate with the Yanks at first, con- Director George Clooney // 118 minutes

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SUPERNOVA Directed by Tamar van den Dop Produced by Revolver in co-production with IJswater Films your Dutch film connection Sales: Wide Management

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Boyhood Richard Linklater’s lovely look at childhood, filmed across 12 years as his actors grew and aged, has no precedent by todd mccarthy

A unique work in American character and impressive weight. cinema, shot in 39 days over the Linklater shot in short spurts course of 12 years, Boyhood is an periodically between 2002 and epic about the ordinary: growing 2013, calling the name actors to up, the banality of family life and Texas to join the locals playing forging an identity. Everything the dozens of characters who here has been seen in mov- come and go. This approach Coltrane in competition dreams of ies and on television countless involved some real risk, as, manhood. times before — marital spats, a over such a long period, some divorced dad trying to connect participants could have died, stilted. This impression is forgot- lege, while young Mason devel- with kids he sporadically sees, become unwilling to continue ten once the kids’ long-absent ops a passion for art photography teenagers acting out, parents or somehow evolved physically dad returns from Alaska, only to as well as for the most beautiful having to let go — but perhaps and/or emotionally in ways that be assaulted verbally by the still- girl at school (Zoe Graham), never has the long arc of the might have been unsuitable for wounded Olivia (the reason for whom he’s lucky enough to have journey from childhood to col- the story as the writer-director their breakup goes unspecified). as his first girlfriend but who will lege been portrayed as cohesively roughly conceived it in advance. Living hand-to-mouth, Olivia also certainly break his heart. and convincingly as Richard The film moves along from one moves the kids to Houston so she With all the geographic, Linklater has done in a film that time period to another without can go to college; she marries educational, parental and emo- can be plain on a moment-to- warning or announcement, and again, to an overbearing pro- tional adjustments Mason and moment basis but is something watching the aging process of fessor with children of his own Samantha are forced to make, quite special in its entirety. the performers is fascinating. who turns out to be a violent they do pretty well, all things IFC Films faces a tough chal- The two major professionals alcoholic; the kids line up with considered, which brings to mind lenge with this theatrically since, in the cast, Ethan Hawke and hundreds of others in costume the overriding theme of Francois other than serious film buffs and Patricia Arquette, who play the one midnight to buy Harry Potter Truffaut’s films about children, Linklater fans, it’s very hard to divorced parents Mason Sr. and and the Half-Blood Prince; Mason which was their resilience. With identify the audience that will Olivia, thicken and mature grace- Sr. turns up again and shakes his all the childhood traumas, come out for a 2.5-hour obser- fully over the years. But where kids out of their sullenness by extreme behavior and tragedies vational chronicle of childhood; Linklater was really lucky was insisting they talk to him about that have been depicted in both it’s not really a film for kids, with Ellar Coltrane, a local kid real stuff; dad dragoons the kids narrative and documentary films although they would relate to who’s cute as a little boy and, in into helping him campaign for over the past couple of decades, much in it, and many adults will his midteens, sprouts into a cool, Obama in 2008; Samantha has it’s both bracing and refresh- shy away due to a perception that thoughtful, slim and quite attrac- her first boyfriend at 15; and ing to see more normal (if far it is. Still, there is little doubt tive guy. In a typical fictional Mason Jr.’s voice is suddenly from ideal) youthful experience that, over time, Boyhood will be film, it would require three dif- deep when his old man takes him represented in such a nonmelo- seen and deeply appreciated by ferent actors to portray the same on a summer camping trip. dramatic and credible way. viewers young and old on various character over this age range; to The smallest moments can There are many indelible pas- formats, with the end result that see this one young man inhabit be the most telling: The kids sages in Boyhood, along with a it will endure. all these stages of Mason’s life is wondering if their dad is sleeping few stretches that are less than Every single aspect of the sub- quite astonishing to behold. with a redhead who chats him compelling, even boring. But the ject here has been grist for dra- The only comparison that up in a restaurant; Samantha’s length suits the film’s substance matists through the ages — the comes to mind for this sort of embarrassment upon her dad’s and the feeling at the end is of a bickering, small joys, misunder- extended real-life chronological prying about her first romance; rich, greatly rewarding experi- standings, wedlock fissures, first continuum is Michael Apted’s and young Mason’s crushing dis- ence. Certainly, Linklater, with loves, the birth of artistic incli- still-ongoing Up series, which has appointment that his father has all the other projects he pursued nations and emotional growth followed the group of original sold the GTO that he’d promised over the course of these dozen through pain and disappoint- participants (with one or two to give him on his 16th birthday. years, must have had his fingers ment. Eschewing melodrama dropouts) over the decades. But There are other, more overt crossed much of the time that and farce, Linklater approaches that’s a documentary. What takes milestones: Olivia becoming this ongoing enterprise would these subjects in the same getting used to in Boyhood is that, a successful teacher; the kids work out all right in the end. It unblinking manner, as parts of in fact, it is not a documentary. adjusting to yet another step- turned out as well as, or better the fabric of life. What seem like The initial passages, with Olivia father — an initially impressive than, anyone could have logi- huge issues for a moment often picking Mason up from school, and buff Iraq War vet who, like cally expected. can be quickly forgotten, while Mason spray-painting graffiti his predecessor, becomes an tiny incidents can remain in the on a wall, and his older sister abusive drunk — as well as a Competition mind forever; it’s the selective but Samantha (Lorelei Linklater, the stepmother whose mother is a Cast Patricia Arquette, cumulative use of seemingly arbi- director’s daughter) being sassy, Jesus freak and father is a gun Ethan Hawke, Ellar Coltrane trary but significant experiences appear so verite-like that the nut (both of whom could not be Director Richard Linklater that gives Boyhood its distinctive written dialogue sounds rather nicer); Samantha leaving for col- 164 minutes

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day3_rev_boyhoodA.indd 1 2/7/14 12:18 PM Electric Ent D1_020614.indd 1 2/3/14 8:35 AM REVIEWS Pietzcker (left, with Atheer Adel) is on a quest to find his family. beginning an odyssey after which nothing will ever be the same. Jack Berger and Mueller-Stoefen’s This sad, all-too-credible competition in script refrains from providing story should be moving but any kind of backstory that would is instead just sort of meh explain why Sanna is such a by leslie felperin screw-up, which creates the kind of oblique vibe that’s so fash- Stories about children who have ionable these days in art house been neglected or abused are cinema. But it also risks making intrinsically laudable in them- the film feel a bit judgmental of selves, hard to make because of anyone who doesn’t conform to the challenges of working with anything new, especially when Manuel is scalded by bathwater middle-class Germanic values, child actors and difficult to sell to compared with, say, the recent and social services are called in. especially in a scene where Jack distributors. Nevertheless, there Short Term 12 or Ursula Meier’s The authorities decide, perhaps and Manuel go looking for Sanna also has been a bit of a glut of Sister, the latter another Berlin inexplicably to some viewers’ at a rave in a squat, depicted as them recently at film festivals, competitor made a couple years eyes, to leave Manuel in Sanna’s the most squalid environment a and poor Jack, a German film back, which covered similar care but place Jack in a children’s child could ever be exposed to. about a 10-year-old boy who runs ground with more bite. home. Employee Becki (Mueller- The characters on the whole lack away from a state-run shelter to Prepubescent Jack (impres- Stofen herself) does her best to dimensionality, and although find his neglectful mother, thus sive newbie Ivo Pietzcker) lives ease his transition, but he’s soon young Pietzcker has presence, arrives somewhat disadvantaged with his 5-year-old half-brother, being bullied by another child. he’s just a nice, hard-done- by compassion fatigue. Manuel (Georg Arms), and their When a holiday arrives and Jack by urchin. This collaboration between TV- mother, Sanna (Luise Heyer), in a expects to be allowed home to see trained director Edward Berger Berlin tower block. Sanna clearly Sanna and Manuel for the first Competition and actor-turned-scriptwriter loves her children, but she’s also time in weeks, she doesn’t turn Cast Ivo Pietzcker, Georg Arms, Nele Mueller-Stoefen, who co- selfish and feckless, inclined to up to collect him. A fight with the Luise Heyer, Nele Mueller-Stoefen, wrote the script together, is made skip out on the kids for jaunts bully puts Jack in a panic, and he Odine Johne, Vincent Redetzki with sensitivity, skill and honesty. away with men or friends. runs, all the way across Berlin, Director Edward Berger However, it doesn’t really say One day, when Sanna is away, to find his mom and brother, 102 minutes

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Thou Wast Mild and Lovely This is not the life on the farm that John Denver was singing about by david rooney

Josephine Decker has pointed Butter on the Latch, which Farm girl Traub falls to John Steinbeck’s East of Eden acquired some admirers in festi- for a married man. as the inspiration for her quasi- val showings in the U.S. In addi- thriller Thou Wast Mild and tion to making documentaries, is about to pop with untapped Rather than a linear narrative, Lovely, a connection only vaguely Decker has worked as an actor, desire. Akin is a home-brew this is a film that seems mostly discernible in characters act- notably in films by Joe Swanberg, beer hobbyist, and that’s not all constructed in the cutting room, ing on their darkest impulses as who returns the favor here. His that’s fermenting between him with bursts of a dissonant string they compete for one another’s uncharacteristically nonverbal and Sarah. But while she flashes score to heighten the mood. attentions. But the loose-limbed role marks a welcome change of more signals than a traffic light, Ashley Connor’s camera is either film seems more like a nod to pace and is one of this shoestring Jeremiah doesn’t warm to Akin. distractingly jittery or static, Terrence Malick in its reverence project’s main strengths. As telegraphed in anticipa- letting action play out within a for the natural world. Shot in a Swanberg plays Akin, a farm tory flashes of violence, this is random frame, as if the film- woozy handheld style and laced worker who leaves his wife and a lurid tale of sex and death maker is trying to make a virtue with fussy visual affectations, the child at home when he takes recounted in short scenes and of unrefined aesthetics. On the story mixes ripe sensuality with a summer job on a property cloaked in the seductive imagery plus side, biting the head off a menace in a pastoral setting. It’s in rural Kentucky. The farm of grassy fields and docile ani- live frog is certainly a new entry not uninteresting but too self- is owned by Jeremiah (Robert mals. Decker’s storytelling gains in the book of sexual come-ons. consciously arty to rank Decker Longstreet), a drunk whose rela- traction as it progresses, but she as a mature filmmaking voice. tionship with his grown daugh- keeps undercutting the erotic Forum The writer-director is rep- ter Sarah (Sophie Traub) has tension by having Traub indulge Cast Joe Swanberg, Sophie Traub resented with two films in the creepy overtones. As outlined in in silly exhibitions of explod- Director Josephine Decker Berlin Forum, the other being her voiceovers, the rustic beauty ing sexuality. 79 minutes

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Cinema do Brasil D3 020814.indd 1 2/6/14 10:40 AM REVIEWS

Vietnamese cinema is an increasingly rare floating farm where Thi loses his life. When commodity on international screens, with the police rule Thi’s death an accident, Sao Nuoc domestic production in sharp decline since applies to work at the farm herself, to expose A maritime murder mystery proves more the shift to market economics in the 1980s. So the truth behind his murder. watery than grave by stephen dalton it is disappointing that Nuoc never delivers on Nghiem-Minh shoots Nuoc with a strong its initial arty promise. The sci-fi backstory compositional eye for wide horizons and This atmospheric Vietnamese hybrid of remains underdeveloped, while the romance elemental landscapes, sometimes reducing romantic drama, murder mystery and water- and thriller elements unfold with scant sur- his human protagonists to minor details on logged science-fiction eco-thriller initially prises. Further festival splashes seem likely a cosmic canvas with a Terrence Malick-like feels like a kind of Beasts of the Southeast for such an intriguingly odd fish, but broader aloofness. His underwater sequences also Asian Wild. Mostly set on floating rafts and box office potential looks decidedly damp. stand out, particularly those in which Sao boats, the mood is poetic and contempla- The story begins with a dead body floating and her brother-in-law dive down to visit Thi’s tive, the technical finish highly polished. The in water. It is the year 2030, and global warm- submerged coffin. film’s Saigon-born writer-director Nguyen-Vo ing has drowned most of southern Vietnam But however visually pleasing it may be, Nghiem-Minh is a UCLA graduate whose under ever-rising sea levels. The dead man is this moody maritime mystery is fatally low last feature, Buffalo Boy, was put forward as Thi (Thach Kim Long), a lowly farmer who on tension. As a murder thriller, it lacks grip. Vietnam’s official Oscar contender in 2006. has spent years living above his flooded prop- As a dystopian sci-fi ideas movie, it lacks sub- erty with his wife, Sao (Quynh Hoa), initially stance. And as a romance, it lacks passion. Sao’s brother-in- in a wooden stilt house, then in a boat as the The storm-lashed climax, with its contrived law (Hoang Phi) examines Thi’s tides grow higher. Shortly before his mysteri- revelations and self-destructive confessions, underwater coffin. ous death, Thi began working at a heavily stretches implausibility to the snapping point. guarded floating farm nearby. Ultimately, it is hard to muster much shock Jumping back 10 years for an extended and awe over a tame conspiracy theory that second-act flashback, before her marriage hinges on genetically modified vegetables. to Thi, Sao had a fateful romance with Thuy (Hoang Tran Minh Duc), a scientist research- Panorama ing plant life along the fast-rising river delta. Cast Quynh Hoa, Hoang Tran Minh Duc, The ambitious Thuy breaks off their brief Thach Kim Long relationship to continue his corporate career, Director Nguyen-Vo Nghiem-Minh but later returns to set up the experimental 98 minutes

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Screen Media D1 020614.indd 1 2/4/14 12:29 PM REVIEWS

the formal rigor on display here Moving between different feels more akin to the director’s industrial spaces, Cote employs unorthodox animal-watching a method that mostly consists documentary Bestiaire, a left- of artfully composed static field Sundance and Berlin favor- shots and slow zooms into heavy ite in 2012. Sadly, Joy of Man’s machinery. These scenes have a Desiring lacks the same kind stark, vaguely menacing beauty. of inspired premise and clarity They are intercut with still-life of purpose. Playing more like studies of machinists and carpen- a sketchbook of semiconnected ters, laundry workers and food ideas than a coherent film, it packagers. Some are caught in likely will find its target audience fragmentary conversation, oth- limited to the festival circuit. ers framed in sullen and word-

Sigouin and Hamidou The film’s nonfiction seg- less poses. Joy of Man’s Desiring Savadogo have a ments are lightly peppered with constantly hints at interesting case of the Mondays. dramatic vignettes and poetic themes — like the psychology of touches, including a stern open- manual labor in a mechanized ing monologue delivered straight age, or the broad cultural mix of Joy of Man’s Desiring to camera by an unnamed Francophone immigrants among Denis Cote weaves a poetic but insubstantial docudrama woman (Emilie Sigouin). “Be Quebecois factory workers — from the lives of factory workers by stephen dalton polite, respectful, honest,” but never develops them with she warns the viewer, “or I’ll sufficient depth. Rich subject, Mighty factory machines boom tions of alienation and despair destroy you.” After this, a full poor delivery. and clank a percussive industrial in the workplace, but offers no 45 minutes of observational symphony that runs through clear insights and reaches no documentary elapses before Cote Forum this austere Canadian quasi- firm conclusions. brings the woman back during a Cast Emilie Sigouin, Guillaume documentary. Shot in a series of Quebecois director Denis Cote series of scrappy scripted scenes Tremblay, Hamidou Savadogo, heavily automated workspaces, won a Silver Bear in last year’s in which various workers discuss Cassandre Emmanuel Joy of Man’s Desiring (Que Ta Berlinale for his offbeat comic the depressing drudgery of their Director Denis Cote Joie Demeure) touches on ques- thriller Vic + Flo Saw a Bear, but jobs and work in general. 70 minutes

Off Camera D3 020813.indd 1 2/3/14 9:29 AM day3_rev_joyA.indd 1 2/7/14 2:52 PM ACI & MPI OFFICES AT BERLIN: Martin-Gropius-Bau (MGB), Stand No. 153 George Shamieh [mobile]: 818.445.3812 • Chevonne O’Shaughnessy [mobile]: 818.355.1083

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Los Angeles Earnest intentions and ethnographic trappings aside, this is basically Muchachos n the Hood by david rooney

Exploring the tragic conflict illegal journey across the border between traditional life in rural into the U.S. to earn money their Mexico and the far-reaching families needed to survive. The tentacles of gang violence, Los authenticity he brings is admi- Angeles is an absorbing if familiar rable, as is the purity of having Mateo (Bautista Matias) is injured at a rodeo, setting in drama from first-time writer- nonprofessional actors dramatize motion a tragic chain of events. director Damian John Harper. their own lives — even if that’s Following the model of Italian also a limitation when the emo- ers distinct types of emigrants. strengths is its casual observation neorealism, locals play versions tional stakes are raised. There’s Mateo’s unseen father, of different generations of women of themselves in this heartfelt Shot with a handheld cam- who may be shacked up with a and their interaction with men. story of migration as experienced era, the film establishes a gritty new family in California. The The lovingly detailed depiction by those left behind. But despite texture from the outset as a boy’s godfather, on the other of a place and its people keeps the specificity of its Oaxaca set- vicious beating is heard beneath hand, worked an honest job and the film watchable. But at heart, ting, the German-produced film the opening credits. The recipi- has returned with a strong sense this tale of a good kid having evokes too many minor variations ent is 17-year-old Mateo (Mateo of civic pride. Another absentee, second thoughts about crossing on similar themes, without hit- Bautista Matias), who’s being Lino, has put his life in danger over to the bad side isn’t original ting enough new notes. indoctrinated into the brutal by trying to extricate himself enough to pack much punch. An American anthropology gang-banger ethos by village from a gang, causing sorrow major, Harper spent a year thugs. Mateo is convinced that to his mother. Her vehemently Forum working as an ethnologist in the becoming a badass gang member literal “it-takes-a-village” speech Cast Mateo Bautista Matias, Zapotec village of Santa Ana will be his ticket to survival when as she vents her bitterness is an Marcos Rodriguez Ruiz del Vale, observing the ebb and he heads for Los Angeles. overstated misstep in a drama Director-screenwriter flow of life as sons, brothers and Woven seamlessly into the that strives for verisimilitude. Damian John Harper fathers undertook the dangerous dramatic fabric, the film consid- But otherwise one of the movie’s 100 minutes

WILDSIDE AND RAI CINEMA PRESENT

Pierfrancesco Diliberto Impressive makes a terriﬁ c debut directorial debut (Variety) (The Hollywood Reporter)

A film by Pif THE MAFIA KILLS

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Rai Half H D2_020714.indd 1 1/30/14 12:43 PM day3_rev_LosAngelesB.indd 1 2/7/14 2:54 PM Festival of Wheels D3 020814.indd 1 2/6/14 2:26 PM REVIEWS

market Theo (Max Baissette title de Malglaive) runs from a group of gangsters. ing which Simon’s son, Theo — in a coinci- dence that strains plausibility to the max — witnesses the gangsters executing someone in the bathroom of a bull-fighting ring. While that scene seems downright dubious, the next one, during which Theo outruns a scooter before his dad steps in, is as flawlessly exe- cuted as it is both unrealistic and over-the-top. But Cavaye (who co-wrote the script with Guillaume Lemans) always has been less con- cerned with making things believable than with rendering them fast, gritty and violent, Starring Vincent Lindon and Gilles and to that extent, Mea Culpa is probably his Lellouche as a former cop and a punch- best film yet. Working with cinematographer Mea Culpa drunk detective teaming up against a clan Danny Elsen and regular editor Benjamin This frenetic B-level thriller has of mobsters, the film is your classic good Weill, the director creates a series of action Grade A quality by jordan mintzer guys vs. bad guys ’80s-style actioner but with scenes that are both artful and understand- shootouts turned up several notches while the able, never indulging in overcutting and CGI French action maestro Fred Cavaye deliv- pace never lets up. while introducing sly bits of visual humor. ers another combo punch of kinetic thrills A somewhat impressionistic opening Spending much of the film punching, and schlocky storytelling in Mea Culpa, the presents several characters and time periods, sweating and spitting up blood, Lindon and third in a series of race-against-the-clock first introducing us to Simon (Lindon), an Lellouche are just fine as a pair of thuggish suspensers following Point Blank and For Her armored car driver estranged from his wife heroes, although they’re more convincing (remade stateside as The Next Three Days). and son, for reasons we’ll learn about later. when they’re on the run than when they slow Pretty much one credibility-stretching chase Meanwhile, a gang of drug dealers has been down to hit a few requisite emotional notes from start to finish, but with several impres- on a shooting spree throughout the streets that feel phony from the get-go. sive set-pieces and plenty of directorial inge- of Toulon, and although Simon’s ex-partner, nuity, this Gaumont-backed shooter should Franck (Lellouche), is on their tail, they’ve Sales Gaumont score a sizeable audience for its local release, been taking out victims left and right. Cast Vincent Lindon, Gilles Lellouche while Fox already has picked up U.S. rights. All of this is setup for a first-act closer dur- Director Fred Cavaye // 90 minutes

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Untitled-15 1 2/7/14 5:32 AM 2014 EUROPEAN FILM MARKET SCREENING GUIDE 18, 70 mins., Netherlands, TODAY Level K’s 8:50 Field of Dogs, CinemaxX Attraction Distribution; Joy Starred Up Studio 15, 98 mins., Poland, of Man’s Desiring, CinemaxX Wide/Wide House; Wish I 6, 70 mins., Canada, Films Was Here, CineStar 4, 113 Boutique; Han gong-ju, mins., USA, Wild Bunch CinemaxX Studio 12, 112 mins., South Korea, FINECUT; Night 9:00 The Disciple, CinemaxX Moves, CineStar 6, 120 mins., 9, 90 mins., Finland, Långfilm USA, The Match Factory; The Productions; Giovanni’s Art of Happiness, CinemaxX Island, Kino Arsenal 2, 102 Studio 16, 84 mins., Italy, Elle mins., Japan, Production Driver; Ugly Benny, Marriott I.G; Foosball, CineStar 7, 106 1, 90 mins., USA, Engine mins., Spain, Film Factory 15 Media Group; Medeas, Entertainment; Nobody Owns CinemaxX 2, 97 mins., USA, Me, CineStar IMAX, 109 mins., TF1 International Sweden, Svensk Filmindustri; Hello Carter, CinemaxX 5, 9:45 God’s Pocket, CinemaxX 81 mins., UK, Bankside Films; 3, 89 mins., USA, Electric Gerontophilia, CineStar 1, 87 Entertainment; TrustNordisk mins., Canada, MK2; Miele, - Private Promo Screening - By CinemaxX Studio 19, 96 mins., Invitation Only, CineStar 5, 20 Italy/France, Cité Films; The mins., Denmark, TrustNordisk; 101 mins., Germany, Beta 14, 102 mins., Germany, 11:40 Babysitting, CineStar Hunted, MGB-Kino, 88 mins., Abducted, Parliament, 96 Cinema; Shal – The Old Man, Picture Tree International 6, 90 mins., France, Other USA, Cinema Management mins., UK, Stealth Media Group CinemaxX Studio 19, 102 Angle Pictures Group (CMG); TrustNordisk - mins., Kazakhstan, Amadeus 11:10 Killers, CinemaxX 2, Private Promo Screening - By 10:00 Gagarin: First in Entertainment 137 mins., Japan/Indonesia, 11:55 The Great Lion: Kun Invitation Only, CineStar 5, 20 Space, Kino Arsenal 1, 108 XYZ Films Seng Keng, CinemaxX 5, 96 mins., Denmark, TrustNordisk mins., Russia, Intandem 10:50 Chlorine, Marriott 2, mins., Malaysia, Creative Films; Summer Outside, Zoo 95 mins., USA, New Films 11:15 The Custody, Marriott 1, Content Association Malaysia 9:10 Brides, CinemaxX 8, Palast 2, 92 mins., Germany/ International 90 mins., Canada, Attraction 94 mins., Georgia/France, Switzerland, Distribution; Two Men in 12:00 Kohlhaas or the Rezo; Supermensch The 11:00 The Anderssons Hit Town, CineStar 2, 120 mins., Proportionality of Means, Legend of Shep Gordon, 10:25 The Pact 2, CinemaxX 5, the Road, Marriott 3, 95 France/Algeria/USA/Belgium, Zoo Palast 2, 89 mins., CinemaxX Studio 13, 84 mins., 88 mins., USA, Content mins., Sweden, Sola Media; Pathé International; Poker Germany USA, Dogwoof At Home, CinemaxX 6, 103 Night, Zoo Palast Club A, 105 10:35 The Disappearance of mins., Greece/Germany; As mins., USA, Highland Film 12:15 Daughters, CinemaxX 9:15 Kertu – Love Is Blind, Eleanor Rigby: Him and Her, the Light Goes Out, CineStar Group; La Santa, dffb-Kino, Studio 18, 92 mins., Germany, CinemaxX Studio 17, 97 MGB-Kino, 201 mins., USA, IMAX, 113 mins., Hong Kong, 90 mins., Italy, Rai Trade Alpha Violet; Natural mins., Estonia, Paul Thiltges Myriad Pictures China, Emperor Motion Resistance, CinemaxX 9, Distributions Pictures; Betibú, CinemaxX 11:25 Deadly Virtues: Love. 83 mins., Italy/France, Rezo 10:40 The Word, CinemaxX Studio 17, 103 mins., Spain/ Honour.Obey, Parliament, 90 9:20 Some Like It Cold, dffb- Studio 15, 97 mins., Poland/ Argentina, Latido Films; mins., UK, Jinga Films 12:30 The Priest’s Children, Kino, 110 mins., Russia, Sreda Denmark, LevelK; Starred Barbecue, CinemaxX 1, 90 CinemaxX Studio 15, 93 mins., Fetisov Films Up, CineStar 1, 105 mins., UK, mins., France, Studiocanal; 11:30 Bald Mountain, Croatia/France, Wide/Wide Independent; I Thought It Playing Dead, Kino Arsenal CinemaxX 4, 100 mins., Brazil, House; Pinocchio, CineStar 9:30 71, CineStar 2, 100 mins., Was a Party, CinemaxX 9, 85 2, 105 mins., France/Belgium, Celluloid Dreams/Celluloid 4, 96 mins., Germany, Global UK, Protagonist Pictures; mins., Spain/Argentina, 6 Sales Films Distribution; The Nightmares; The Voices, Screen; Rock Paper Scissors, Superegos, CinemaxX 4, 94 Letters, CinemaxX Studio 11, Zoo Palast 5, 111 mins., USA, CineStar 1, 115 mins., Canada, mins., Germany/Switzerland/ 10:45 Belle & Sebastian, 120 mins., USA, Arclight Films; Panorama Media; Faith Filmoption International Austria, Films Distribution; CineStar 4, 99 mins., France, The Rooftops, CinemaxX Connections, CinemaxX The Trip to Italy, Zoo Palast Gaumont; Hangar 10, Studio 16, 92 mins., France, Studio 12, 117 mins., France/ 12:35 Hector and the Search 5, 115 mins., UK, Goalpost CineStar 5, 84 mins., UK, Elle Driver India, Cité Films; Promo Reel for Happiness, CineStar 5, Film; Pim & Pom: The Big Altitude Film Sales; Quality Wild Bunch, CinemaxX 3, 90 118 mins., Germany/Canada, Adventure, CinemaxX Studio Time, CinemaxX Studio 13, 11:05 West, CinemaxX Studio mins., France, Wild Bunch Bankside Films

THE HOLLYWOOD REPORTER 38

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12:40 The Silent Mountain, of Iron, CinemaxX 6, 98 International; Healing, Armstrong Story, CinemaxX CinemaxX Studio 11, 99 Marriott 2, 94 mins., Austria/ mins., South Korea/USA, CinemaxX Studio 15, 119 4, 97 mins., Australia, ABC mins., Finland/Sweden, The USA, Premiere Entertainment; BOC Features; The Husband, mins., Australia, Lightning Commercial; Mission: Yellow Affair; A Dream of Because I Was a Painter, CinemaxX Studio 11, 83 Entertainment; House of Sputnik, Marriott 1, 83 Iron, Marriott 3, 98 mins., CinemaxX Studio 19, 104 mins., Canada, The Little Magic, CineStar 4, 85 mins., mins., Germany/Belgium/ South Korea/USA, BOC mins., France, Jour 2 Fête; Film Company Belgium, Studiocanal Czech Republic, Attraction Features; Promo Screening Siddharth, CinemaxX Distribution; Me, Myself and – Northmen: A Viking Studio 13, 96 mins., Canada, 13:20 Blind, CinemaxX 4, 96 14:20 Jake Squared, Marriott Mum, CinemaxX 2, 87 mins., Saga, CineStar IMAX, 120 Fortissimo Films mins., Norway/Netherlands, 2, 95 mins., USA, New Films France, Gaumont; The Guest, mins., Switzerland, The Salt Versatile International CinemaxX 10, 100 mins., USA, Company; When We Were 12:45 Lilting, CinemaxX 1, HanWay Films; Djinn, CineStar Boys, CineStar 1, 106 mins., 86 mins., UK, Protagonist 13:30 A Many Splintered 14:30 Fasten Your Seatbelts, 6, 86 mins., United Arab Canada, Entertainment Pictures; The Quiet Roar, Thing, Zoo Palast 3, 90 CineStar 1, 110 mins., Italy, Emirates, Fortissimo Films; One; Making of Heimat, CinemaxX Studio 16, 75 mins., USA, Voltage Pictures; Pathé International; Food Osamu Tezuka’s Buddha 2, CinemaxX Studio 17, 119 mins., mins., Sweden, Bac Films; Tokarev, Zoo Palast 5, 100 Chains, CinemaxX Studio 19, Marriott 3, 85 mins., Japan, Germany, ARRI Worldsales; Filmage: The Story of the mins., USA, Hannibal Classics; 82 mins., USA, Visit Films; The Toei Company Ribbit, Parliament, 86 mins., Descendents/All, Marriott 3, Joy of Man’s Desiring, Crypt, CinemaxX Studio 13, 82 Malaysia/India, United Studios 90 mins., USA, VMI Worldwide CinemaxX Studio 12, 70 mins., UK, Cinemavault; WTF, 15:15 Free Range, CinemaxX mins., Canada, Films CinemaxX 1, 90 mins., France, 6, 104 mins., Estonia, LevelK 16:40 Little Buddho, 12:50 Katherine of Boutique; Wolves, CinemaxX Wild Bunch CinemaxX Studio 14, 99 mins., Alexandria, CinemaxX Studio 2, 85 mins., Canada, TF1 15:25 N – The Madness of Serbia/Slovenia/Switzerland, 17, 107 mins., USA, International 14:40 Way Back Home, Reason, CinemaxX Studio Gargantua Films VMI Worldwide CineStar 5, 130 mins., South 18, 102 mins., Belgium/ 13:45 Ablations, CinemaxX Korea, CJ Entertainment; Germany/Netherlands, Wide/ 16:45 Gaming Instinct, 13:00 Promo Reel Save 9, 90 mins., France/Belgium, Dinosaur 13, Parliament, 105 Wide House CinemaxX 2, 100 mins., Oz!, dffb-Kino, 59mins.;, Funny Balloons mins., USA, Dogwoof Germany, Global Screen; Argentina/India, Filmsharks 15:30 Jack, CineStar 2, 103 Dead Snow 2: Red vs. Dead, International; I’ll Bury You, 13:50 Velvet Terrorists, 14:45 Hard Drive, CinemaxX mins., Germany, Beta Cinema CineStar 6, 105 mins., Norway, CinemaxX Studio 14, 91 CinemaxX Studio 18, 87 mins., Studio 11, 90 mins., Canada, Elle Driver mins., Belgium/France, Wild Slovakia/Czech Republic/ The Yellow Affair 15:45 Weekends in Bunch; Sugar, Marriott 1, 97 Croatia, Deckert Distribution Normandy, MGB-Kino, 17:20 Supernova, CinemaxX mins., USA, Double Dutch 14:50 The Foxy Merkins, Zoo 90 mins., France, Films Studio 18, 108 mins., International; The Suspect, 14:00 May in the Summer, Palast Club A, 83 mins., USA, Distribution; The Police Netherlands/Germany/ Kino Arsenal 2, 136 mins., MGB-Kino, 100 mins., USA, ICM; Nine Days and One Officer’s Wife, Zoo Palast 2, Belgium, EYE Film Institute South Korea, Showbox/ Elle Driver; Master of the Morning, CinemaxX Studio 17, 172 mins., Germany, The Netherlands; Miss Zombie, Mediaplex; Lemon Tree Universe, Zoo Palast 2, 88 85 mins., Russia, Intercinema Match Factory CineStar 2, 85 mins., Japan, Passage, CineStar IMAX, mins., Germany/Austria, Agency Celluloid Dreams/Celluloid 85 mins., Australia, Odin’s Autlook Filmsales 16:00 Transit, CinemaxX Nightmares Eye Entertainment; Nothing 14:55 Free Range, CinemaxX Studio 19, 92 mins., Philippines, Can Stop Us, Parliament, 14:10 Zurich, dffb-Kino, Studio 14, 104 mins., Estonia, Electric Entertainment; Seven 17:30 Non-fiction Diary, 95 mins., Italy, Amadeus 103 mins., Germany, ARRI LevelK Little Killers, Marriott 2, 86 CinemaxX 6, 93 mins., South Entertainment Worldsales mins., Italy, Intramovies; Korea, M-LINE Distribution 15:00 Wounded, CinemaxX Hunting Elephants, dffb-Kino, 13:15 Güeros - By Invitation 14:15 Victor “Young” Perez, Studio 12, 95 mins., Spain, 107 mins., USA/Israel, Bleiberg 17:35 Rigor Mortis, CineStar Only, CineStar 6, 106 mins., CinemaxX Studio 16, 110 Imagina International Sales; Entertainment; Truth or Dare, 4, 101 mins., Hong Kong, Mexico, Mundial; A Dream mins., France, Picture Tree Stop at Nothing: The Lance CineStar 4, 83 mins., France, China, Fortissimo Films; EuropaCorp Hotell, Marriott 2, 97 mins., ICM’s The Foxy Merkins Sweden, MK2 16:10 Bloodlust, CinemaxX Studio 13, 87 mins., UK, 17:40 We Gotta Get Out of Cinemavault This Place, CinemaxX Studio 16, 91 mins., USA, Lightning 16:15 Frank, CinemaxX 1, 95 Entertainment mins., Ireland, Protagonist Pictures; Champ of the 17:45 Fort Bliss, Zoo Palast Camp, CinemaxX Studio 16, 75 4, 90 mins., USA, Voltage mins., United Arab Emirates, Pictures; Torment, CinemaxX Wide/Wide House Studio 13, 82 mins., Canada, Filmax International 16:25 The Gambler, CinemaxX Studio 15, 109 mins., 18:00 Song ‘e Napule, Lithuania/Latvia, Wide/ CinemaxX 1, 114 mins., Italy, Wide House Rai Trade; God Only Knows, dffb-Kino, 110 mins., USA, 16:30 Heart of a Lion, Synchronicity Entertainment;

THE HOLLYWOOD REPORTER 40

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TIFF D3 Revised.indd 1 1/31/14 2:16 PM MARKET SCREENING GUIDE

Drones, Parliament, 83 mins., 18:40 The Punk Singer, 19:45 The Dirties, CinemaxX Ghost, CinemaxX 5, 92 mins., mins., France, Studiocanal; USA, Jinga Films CineStar 6, 83 mins., USA, Studio 11, 83 mins., Canada, Germany/Switzerland, ARRI The Case Against 8, Autlook Filmsales Ellipsis Media International Worldsales; God Only Knows, Parliament, 112 mins., 18:15 Johnson, CinemaxX dffb-Kino, 110 mins., USA, UK, Dogwoof Studio 11, 85 mins., USA, The 18:45 Finding Vivian Maier, 20:10 Life After Beth, Synchronicity Entertainment; Salt Company CineStar 2, 84 mins., USA, CineStar 6, 87 mins., USA, Lose My Self, CinemaxX 9:20 Cracks in Concrete, HanWay Films; Witching & XYZ Films 8, 95 mins., Germany, The CinemaxX Studio 12, 105 mins., 18:20 Superchondriac, Bitching, CinemaxX 2, 112 Match Factory; I Did It Austria, Films Boutique; CineStar 1, 107 mins., France, mins., Spain/France, Film 21:30 Castanha, CinemaxX 6, Again, CineStar 4, 90 mins., Mea Culpa, CinemaxX 2, 87 Pathé International; Wicked Factory Entertainment 95 mins., Brazil, FiGa Films France, EuropaCorp; The mins., France, Gaumont Blood, Marriott 1, 90 mins., Disobedient, Kino Arsenal 2, USA, VMI Worldwide 19:00 Alphabet, CinemaxX TOMORROW 112 mins., Serbia, Visit Films; 9:30 Banklady, CineStar Studio 19, 109 mins., Austria/ 9:00 71, CineStar IMAX, The Christmas Candle, 6, 117 mins., Germany, Global 18:25 Brazilian Western, Germany, The Match Factory 100 mins., UK, Protagonist CinemaxX Studio 11, 105 mins., Screen; Half of a Yellow CinemaxX Studio 14, 105 mins., Pictures; Gods Behaving UK, Arclight Films Sun, Zoo Palast 4, 106 Brazil, Imagina International 19:15 My Name is Hmmm..., Badly, CinemaxX Studio 17, mins., UK/Nigeria, Metro Sales; Honeymoon, CinemaxX CinemaxX Studio 18, 121 mins., 90 mins., USA, Lightning 9:15 Electric Slide, CinemaxX International; Blind Dates, Studio 15, 100 mins., Czech France, Films Boutique; All Entertainment; Laggies, 1, 94 mins., USA, Myriad CinemaxX 6, 99 mins., Republic/Slovakia, Latido Films Cheerleaders Die, MGB- CineStar 5, 100 mins., USA, Pictures; The Rooster Georgia, Films Boutique; Kino, 90 mins., USA, Celluloid The Solution Entertainment of St-Victor, CinemaxX Evaporating Borders, Zoo 18:30 Millions, CinemaxX Dreams/Celluloid Nightmares Group; Going Away, Studio 13, 78 mins., Canada, Palast 5, 73 mins., USA, Studio 12, 83 mins., Germany, CinemaxX Studio 19, 98 Attraction Distribution; Ivaasks Films; Solan & T Films 19:20 Uvanga, CinemaxX mins., France, Wild Bunch; Goal of the Dead, MGB- Ludvig’s Christmas, Studio 16, 86 mins., Canada, Slow, CinemaxX Studio 15, Kino, 117 mins., France, CinemaxX 10, 76 mins., 18:35 The Crocodile of Arnait Video Productions 86 mins., Germany, Wide/ Films Distribution; Love Is Norway, TrustNordisk; Botswanga, CineStar 5, Wide House; Careful What Strange, CinemaxX 4, 98 McCanick, CinemaxX Studio 90 mins., France, Films 19:30 Iranian, CinemaxX 6, You Wish For, CinemaxX mins., USA, Fortissimo Films; 18, 96 mins., USA, Bleiberg Distribution; A Very Unsettled 105 mins., France/Switzerland, Studio 16, 100 mins., USA, Supremacy, Marriott 2, 105 Entertainment; Dreamland, Summer, CinemaxX Studio Doc & Film International; Hyde Park International; mins., USA, The Exchange; CinemaxX Studio 14, 99 mins., 17, 98 mins., Romania/Czech Papusza, CineStar 4, 131 mins., Viral, CineStar 7, 98 mins., Relationship Status: It’s Switzerland/Germany, Picture Republic/Sweden, Aparte Film Poland, New Europe Film Sales Spain, DeAPlaneta; The Little Complicated, CinemaxX 3, 95 Tree International

Lithuanian Film Centre D3 020813.indd 1 1/22/14 10:34 AM

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SEE & BE SEEN in CANNES

CANNES PREVIEW ISSUE 5/7 CLOSE: 4/30 MATERIALS: 5/2

FESTIVAL AND MARKET DAILIES 5/14 5/21

THR.COM/CANNES LIVE MAY 2014

Berlin_See_Seen_Cannes.indd 1 2/5/14 11:47 AM 8 Decades of The Hollywood Reporter The most glamorous and memorable moments from a storied history

Clooney and co-star Debi Fares during the shooting of Killer Tomatoes in 1988.

George Clooney got his start running from killer tomatoes I wasn’t working with him on Michael Clayton. We weren’t EFORE THERE WERE Killer Tomatoes film, 1978’s hunkering down and preparing Oscars in George Attack of the Killer Tomatoes!, to ‘act,’ in all caps.” Clooney Clooney’s life, there they were squashed and would have to wait eight years which earned him a best sup- were murderous eradicated, but 10 years later for his first major screen role, in porting actor Academy Award) Btomatoes. In 1988’s Return of they came back with Clooney Quentin Tarantino’s From Dusk on the big screen. Last year he the Killer Tomatoes!, Clooney as one of the valiant tomato Till Dawn, in which he traded took a trip to space with Sandra played the roommate of the opponents. “We were working tomatoes for vampires. “He’s an Bullock in Gravity, which has lead character, who works in like improv partners,” says lead American icon now,” says Starke grossed $678 million worldwide. his uncle’s pizza parlor. The tomato fighter Anthony Starke. of Clooney, who since has Next Clooney takes on Nazis in comedy-horror film was light “We were trying to figure out fended off terrorists (1997’s The The Monuments Men, which he on plot but premised on the what might be funny at any Peacemaker), Jennifer Lopez also co-wrote and directed. It idea that deadly tomatoes once given moment. That was the (1998’s Out of Sight) and arms makes its international debut roamed the Earth: In the first nature of the movie. I mean traffickers (2005’s Syriana, here today. — C. MOLLY SMITH

THE HOLLYWOOD REPORTER 44 EVERETT COLLECTION

day3_endpageA.indd 1 2/7/14 1:37 PM GermanFilmsBerlinTHR8Feb _Artwork 31.01.14 17:12 Seite 1

IN BERLIN IN COMPETITION photo © Frederik Batier/Bavaria Filmverleih- und Produktion photo © Björn Kommerell/Independent Artists Filmproduktion

BELOVED SISTERS by Dominik Graf INBETWEEN WORLDS by Feo Aladag Producer: Bavaria Filmverleih & Produktion Producer: Independent Artists Filmproduktion World Sales: Global Screen World Sales: The Match Factory Sat, 8 Feb, 08:30 h, Berlinale Palast (press) Tue, 11 Feb, 09:00 h, Berlinale Palast (press) Sat, 8 Feb, 21:30 h, Berlinale Palast (premiere) Tue, 11 Feb, 16:00 h, Berlinale Palast (premiere) Sun, 9 Feb, 10:00 h, Friedrichstadt-Palast Wed, 12 Feb, 09:30 h, Friedrichstadt-Palast Sun, 9 Feb, 19:30 h, Haus der Berliner Festspiele Wed, 12 Feb, 15:30 h, Friedrichstadt-Palast Mon, 10 Feb, 17:00 h, Adria Wed, 12 Feb, 19:30 h, Haus der Berliner Festspiele Mon, 10 Feb, 17:30 h, CineStar 2 (market) Sun, 16 Feb, 15:30 h, Berlinale Palast photo © Dietrich Brüggemann photo © Joachim Gern

JACK by Edward Berger STATIONS OF THE CROSS by Dietrich Brüggemann Producer: Port-au-Prince Film & Kultur Produktion Producer: UFA Fiction World Sales: Beta Cinema World Sales: Beta Cinema Fri, 7 Feb, 09:00 h, Berlinale Palast (press) Sun, 9 Feb, 09:00 h, Berlinale Palast (press) Fri, 7 Feb, 16:00 h, Berlinale Palast (premiere) Sun, 9 Feb, 16:00 h, Berlinale Palast (premiere) Sat, 8 Feb, 09:30 h, Friedrichstadt-Palast Mon, 10 Feb, 09:30 h, Friedrichstadt-Palast Sat, 8 Feb, 12:30 h, Haus der Berliner Festspiele Mon, 10 Feb, 11:15 h, CinemaxX 10 (market) Sat, 8 Feb, 15:30 h, CineStar 2 (market) Mon, 10 Feb, 18:00 h, Friedrichstadt-Palast Sat, 8 Feb, 18:00 h, Friedrichsta dt-Palast Mon, 10 Feb, 22:30 h, International Mon, 10 Feb, 13:15 h, CineStar 2 (market) Thu, 13 Feb, 21:30 h, Thalia Potsdam Sun, 9 Feb, 18:30 h, Toni & Tonino Sun, 16 Feb, 09:30 h, Haus der Berliner Festspiele Sun, 16 Feb, 13:00 h, Haus der Kulturen der Welt 1 Screening schedules subject to change.

GERMAN-INTERNATIONAL CO-PRODUCTIONS IN COMPETITION / OUT OF COMPETITION

BEAUTY AND THE BEAST by Christophe Gans (FR/DE) NYMPHOMANIAC VOLUME I (LONG VERSION) by Lars von Trier (DK/DE/FR/BE/SE) German Co-Producer: Studio Babelsberg German Co-Producer: Zentropa International Köln World Sales: Pathé International World Sales: TrustNordisk

THE GRAND BUDAPEST HOTEL by Wes Anderson (UK/DE) PRAIA DO FUTURO by Karim Aïnouz (BR/DE) German Co-Producer: Studio Babelsberg German Co-Producer: DETAiLFILM World Sales: Fox Searchlight Pictures World Sales: The Match Factory

HISTORY OF FEAR by Benjamin Naishtat (AR/UY/DE/FR) STRATOS by Yannis Economides (GR/DE/CY) German Co-Producer: Vitakuben German Co-Producer: The Match Factory World Sales: Visit Films World Sales: The Match Factory

THE MONUMENTS MEN by George Clooney (US/UK/DE) THE THIRD SIDE OF THE RIVER by Celina Murga (AR/DE/NL) German Co-Producer: Studio Babelsberg German Co-Producer: Rommel Film World Sales: FOX 2000/Columbia Pictures World Sales: The Match Factory

German Films D3_020814.indd 1 1/31/14 8:36 AM Double Dutch Intl D3_020814.indd 1 2/5/14 11:01 AM