EXCLUSIVE OPENING NIGHT EXCLUSIVE Producers WestEnd Launch New Era Launches ‘Score’ Heist Powerhouse Thriller Shingle at 70th Berlinale By Leo Barraclough WORLD SALES agency West- By John Hopewell End Films has boarded “The SONY PICTURES Intl. Prods. and Score,” a heist musical starring El Estudio, a major new inde- Johnny Flynn (“Emma,” “Star- pendent production player in dust”), Will Poulter (“The Rev- the Spanish-speaking world, enant”), Naomi Ackie (“Star are teaming to produce a Mexi- Wars: The Rise of Skywalker”) can version of breakout Cuban and Antonia Thomas (Net- feature “Juan of the Dead,” with flix’s “Lovesick”), from one Emilio Portés directing. of the producers of Beatles Chronicling a U.S. zombie music themed hit “Yesterday,” invasion of Mexico, the remake which grossed $154 million marks one in a strong first worldwide. slate of titles from El Estudio, “The Score” combines a launched at the Berlin Festival “My Salinger Year” stars heist thriller suspense with by three of the most connected Margaret Qualley (left) offbeat romance. Two small- and Sigourney Weaver producers in the Span- time crooks, Mike (Flynn) and share some joy on the ish-speaking world: Ex-Canana Berlin red carpet. Troy (Poulter), are on a mission producer-partner Pablo Cruz, – the “score” – that they both “The Impossible” producer expect will transform their cir- Enrique López Lavigne and for- By Ed Meza When we sit in the cinema, there is no cumstances. At a roadside café, mer Sony Pictures Intl. Prods. THE 70TH BERLIN Film Festival got off to distinction between class or religion. SCORE CONTINUED P.38 head Diego Suárez Chialvo. a subdued and somber start on Thursday Cinema brings us together.” Based out of Mexico, Los after news of a racially motivated mass This year’s festival marks the first EXCLUSIVE Angeles and Madrid, El Estu- shooting Wednesday night in the Ger- edition for Chatrian and Rissenbeek, dio has 63 projects in develop- man city of Hanau rocked the country. who took over from Dieter Kosslick ment or production. El Estdio is “I wanted to say something about the last year. Memento represented by CAA. Partners 70th anniversary of the Berlinale, but The opening night kicked off with on early titles include Sony Pic- events in Hanau hit us all hard,” said the screening of Philippe Falardeau’s Boards tures Intl. Prods., Netflix, HBO, Berlinale executive director Mariette “My Salinger Year,” starring Sigourney Lionsgate, Viacom Intl. Pictures, Rissenbeek. Weaver, who was in attendance, and Purcell’s Oz Movistar Plus and Beta Film, El Artistic director Carlo Chatrian Margaret Qualley. Drama LAUNCH CONTINUED P.38 added: “We stand here as a community. PREMIERE CONTINUED P.38 By Elsa Keslassy MEMENTO FILMS Intl. (“Call Me REVIEW EXCLUSIVE By Your Name”) has acquired Falardeau’s ‘Year’ Falls Flat the Aussie revenge tale “The EFM Seminar Tackles Drover’s Wife,” the film adap- By Peter Debruge Westberg, who represented tation of Leah Purcell’s suc- A WRITER WRITES, but reclusive writer J.D. Salin- Big Issues Euro Biz Faces cessful Australian stage play. there’s no evidence that ger, we can rest assured that By Ed Meza fast-changing landscape Purcell is on board to adapt, act Joanna Rakoff can even she eventually achieved her THE BERLINALE’S Euro- increasingly dominated by and direct the film which Oom- type when she takes the job goal, but her story is less pean Film Market opened the growing number of U.S. barra Prods. and Bunya Prods. as an assistant working for like Lauren Weisberger’s on Thursday with the inau- streaming giants. (“Sweet Country”) will produce. literary agent Phyllis West- novelized “The Devil Wears gural European Film Pol- The seminar was hosted Memento Films Intl. is han- berg in “My Salinger Year.” Prada” than it is Truman itics Seminar, offering a by Steven Gaydos, execu- dling world sales on the movie Because Rakoff went on to Capote’s “Breakfast at Tiffa- look at the pressing chal- tive vice president of global and will introduce the proj- pen a book-length memoir ny’s,” which is to say, it’s lenges facing independent content of Variety. ect to buyers at the EFM in about her time working for YEAR CONTINUED P.36 European producers in a SEMINAR CONTINUED P.38 MEMENTO CONTINUED P.38 RONALD WITTEK/EPA-EFE/SHUTTERSTOCK RONALD

VARIETY 1 NEWS

EXCLUSIVE Stanley Tucci (left) and Colin Firth star in romantic drama “Supernova.” Orange Studio Sets 3 New Pics

By Elsa Keslassy UNDER THE NEW leadership of industry vet- eran Kristina Zimmermann, Orange Stu- dio, the film/TV division of the French telco group Orange, is launching three new projects at Berlin’s European Film Mar- ket: “Last Film Show,” “Old Fashioned” and “Love Song for Tough Guys.” Directed by Pan Nalin (“Samsara”), “Last Film Show” follows a boy in an Indian village who’s determined to become a filmmaker at all costs after he beocmes entranced by movies at the local cinema. “Love Song For Tough Guys” is a romantic comedy directed by Samuel Benchetrit, EXCLUSIVE and is headlined by François Damiens and Vanessa Paradis. The film is produced by Single Man ‘Supernova’ Inks Prods. will be released by UGC Distribu- tion. Orange Studio has worldwide rights. Romantic drama “Old Fashioned” is More Distrib Deals directed by Antonin Peretjatko and stars Josiane Balasko, Anaïs Demoustier and Philippe Katerine. By Leo Barraclough Tusker (Tucci), partners of 20 years, who Atelier de Production and Orange Studio “SUPERNOVA,” a romantic drama starring are traveling across England in their old are producing the film. Colin Firth and Stanley Tucci as a long- RV visiting friends, family and places from time couple on a road trip, has inked a raft their past. Since Tusker was diagnosed with EXCLUSIVE of further distribution deals, closed by the early-onset dementia two years ago, their Bureau Sales. time together is the most important thing Latest buyers for the film, directed by they have. Bispuri Pic Tops Harry Macqueen, include Madman in Aus- The movie marks actor Macqueen’s tralia, CDC for Latin America, Lev in Israel, second feature as a director following his Vivo Film Slate A Really Good Film Company in Hong Kong highly regarded debut, “Hinterland,” in and Bir in Turkey. 2014. By Nick Vivarelli As reported exclusively by Variety, the “Supernova” is produced by Emily Mor- VIVO FILM, the Italian shingle at Berlin film was previously sold to the U.K. (Stu- gan of Quiddity Films (“I Am Not a Witch,” with Abel Ferrara’s “Siberia,” has a robust diocanal), Germany and Austria (Weltkino), “Make Up”) and Tristan Goligher of the slate in various stages including the next Japan (Culture Entertainment), Benelux Bureau (“45 Years,” “Lean on Pete,” “Only drama by Laura Bispuri, whose “Sworn (Cineart), Taiwan (Catchplay), Penny Black You,” “Weekend”). Financiers are BBC Films Virgin” and “Daughter of Mine” both (Airlines) and Scandinavia (Scanbox). and the BFI. Executive producers are Mary launched from the Berlinale. “Supernova” centers on Sam (Firth) and Burke, Vincent Gadelle and Eva Yates. Bispuri later this year will shoot her third feature, which is currently titled “Di Lotta e D’Amore” (“Of Battle and Love”), EXCLUSIVE a love story between two teen girls set against the backdrop of squatters’ houses Endemol Shine Bows Label and other spaces occupied by both Italians and immigrants on Rome’s outskirts. She By Manori Ravindran powerhouse in October. is working with her regular writer Laura “BLACK MIRROR” and “Peaky Blinders” pro- The deal is expected to close this sum- Manieri. ducer Endemol Shine Group has set up a mer. Endemol Shine’s MadeFor will join Vivo toppers Marta Donzelli and Grego- new scripted label in Germany. Banijay’s existing German production rio Paonessa also have “Miss Marx” from Based in Berlin and led by joint CEOs banners, including Brainpool, Good Times Susanna Nicchiarelli (“Nico, 1988”), star- Nanni Erben and Gunnar Juncken, Made- and Banijay Prods. Germany, which have ring Romola Garai as Karl Marx’s activist For Film will focus on both high-end TV largely focused on unscripted content. daughter Eleanor; vampire pic “Non Mi series and feature films for the domes- Ralf Husmann, who adapted “The Uccidere” from Andrea De Sica (Netflix’s tic and international markets, as well as Office” for Germany, will join as showrun- “Baby”) based on books by late cult author co-productions within the wider Endemol ner, while producers Rima Schmidt and Chiara Palazzolo; and “Welcome Venice” Shine Group, as well as with other plat- former Dynamic Television exec Tasja from Andrea Segre (“Li and the Poet”) two forms and partners. Abel will also board the senior team. Venetian brothers who come into conflict Endemol Shine’s expansion into Ger- MadeFor Film will join Endemol Shine’s over the use of their family home — one many follows Banijay’s $2.2 billion acqui- scripted portfolio, which is led by Lars wants to turn it into a bed-and-breakfast

sition of the production-distribution Blomgren, head of scripted for EMEA. to exploit tourism.

2 VARIETY

JBA PRODUCTION OKTA FILM RAI CINEMA PRESENT a film by DANILO CAPUTO SEMINA IL VENTO SOW THE WIND

Head of international sales AGATHE MAURUC - [email protected] International sales executive CONSTANCE POUBELLE - [email protected] SCREENINGS Festivals and Markets 22.02 21:00 CinemaxX 7 PREMIERE ALBERTO ALVAREZ - [email protected] 23.02 10:55 CinemaxX 5 MARKET PRESS •THE PR FACTORY www.theprfactory.com BARBARA VAN LOMBEEK - [email protected] 23.02 14:30 Colosseum 1 + 32 486 54 64 80 MARIE-FRANCE DUPAGNE - [email protected] 24.02 09:00 CinemaxX 9 MARKET + 32 477 62 67 70 24.02 22:00 Cubix 7 ITALIAN PRESS Punto e Virgola 28.02 19:00 CinemaxX 3 www.puntoevirgolamediafarm 29.02 09:00 CinemaxX 6 FLAVIA SCHIAVI and OLIVIA ALIGHIERO +39 06 45763506/7 01.03 14:00 CinemaxX 6 [email protected]

International promotion supported by

Untitled-11 1 2/18/20 11:52 AM NEWS

BERLIN FEST PANEL Women in the Biz Push Forward

By Rebecca Davis “Sometimes I feel we have to have a little WHILE THE PROCESS of moving towards bit more patience; where should it all sud- full gender parity at festivals remains a denly come from within just two years?” slow slog, it’s time to put money where But even when festivals might not yet the movement’s mouth is and make other be able to achieve parity among filmmak- types of tangible steps towards lifting up ers, they should in the meantime con- women’s voices, said speakers at a panel sider steps like Sundance took this year to on female filmmaking jointly hosted by ensure that at least 50% of reviewers and Studio Babelsberg, Canada Goose and Vari- critics were women. “It’s the female gaze, ety, moderated by Variety international edi- the female eye that we need and that will tor Manori Ravindran. get us to parity,” she said. The continued underrepresentation of Tangible progress has been made since women despite initiatives like the renamed the #MeToo movement burst onto the 50/50 for the Future movement — which scene two years ago, panelists agreed. launched as 50/50 by 2020 but missed that In the TV sector, networks used to give target — remains a structural problem, men more opportunities because they panelists said. favored directors who had an existing “Without money, we can’t do any- track record of creating content, but it’s thing. We can’t always expect people to be now encouraged and seen as “absolutely severely underfinanced,” said Berlin-based normal” to champion women, said Doris Swedish director Carolina Hellsgard. Zander, producer with Bavaria Fiction. Gabriela Bacher, CEO of Summerstorm Hellsgard agreed that when it comes Entertainment, urged a bit more forbear- to film, “there’s a demand for female

ance with festivals and other systems directors which maybe wasn’t there ﬁve Producer Doris Zander of Bavaria Fiction (right) and Esther Van adapting to the new post-#MeToo zeitgeist. years ago.” Messel, CEO of First Hand Films, discuss issues women face in the biz.

EXCLUSIVE EXCLUSIVE 50/50 Moves ‘Parasite’s’ Song Tops ‘Declaration’ Into the Future By Patrick Frater success with “The King” and the “PARASITE” STAR Song Song-starring 2013 drama “The Face By Manori Ravindran Kang-ho will head the cast Reader,” will direct. INDUSTRY MOVEMENT 50/50 by 2020, of airborne disaster action At Berlin, Showbox is also represent- which has sought to achieve gender par- move “Emergency Declara- ing upcoming titles “Sinkhole,” a disas- ity across film festivals, will not fulfill its tion.” Jeon Do-yeon (“Secret ter drama about a house that is swallowed eponymous mission this year — but will Sunshine”) and Lee Byung- up, now in post; fantasy drama “Our Sea- Song Kang-ho advance with a new target, according to hun co-star, making “Dec- son”; and comedy action film “The Golden one of its founders, Anna Serner of the laration” one of the powerful casts ever Holiday,” about a family holiday in the Swedish Film Institute. assembled in a Korean movie. Philippines that turns into a murder inves- Serner, CEO of the organization that The film is in pre-production and aim- tigation. It is also selling the drama “The launched the global movement at the ing for an end-of-year release. Leading stu- Man Standing Next,” which stars Lee Cannes Film Festival in 2016, told Variety, dio Showbox will begin pre-sales during Byung in a tale of espionage and political “I’m confident we’re on the right track but this week’s European Film Market. maneuvering that last month grossed $34 I never expected us to globally reach 50/50 Han Jae-rim, who previously enjoyed million. by 2020. We have to set a new target to keep up this work.” EXCLUSIVE While major festivals such as Cannes, Venice and the Berlinale are now signed up to the 50/50 by 2020 pledge — which Gaumont Dances With ‘Rumba’ seeks equal representation across festival management, including jury selection, and By Elsa Keslassy “Rumba Therapy” is one of the few mov- transparency in data about the make-up GAUMONT IS reteaming with ies that Gaumont is producing in-house. of programs — just one headline event has actor-turned-director Franck Dubosc on “Rolling to You,” which was also produced succeeded in achieving gender parity, with comedy “Rumba Therapy,” which follows in-house by Gaumont, was a major hit in Sweden’s Göteborg Film Festival program- his hit 2018 pic “Rolling to You.” France where it sold 2.5 million tickets, as ming an equal number of films from men “Rumba Therapy” stars Dubosc as a well as abroad where it grossed $25 million. and women in its 2020 line-up. man in his 50s who lives alone after hav- “Rumba Therapy” will start shooting With more work to be done, the move- ing abandoned his wife and baby decades in May and will be released in France by ment will be renamed 50/50 for the Future. earlier. He sets off to reconnect with his Gaumont during the first half of 2021. Crucially, the campaign’s scope will also daughter (Louna Espinosa), who has Gaumont is also attending Berlin’s widen to become more intersectional, and become a dance teacher. He signs up for European Film Market with the promo of

WOMEN: SEBASTIAN REUTER; KANG HO: MICHELLE QUANCE/VARIETY/SHUTTERSTOCK KANG HO: REUTER; SEBASTIAN WOMEN: inclusive of women of color. her classes, even if he hates dancing. Xavier Giannoli’s “Lost Illusions.”

VARIETY 5 NEWS

EXCLUSIVE SPACE RACE Rasoulof Talks Censorship, Fox Stars in ‘Evil’ at Berlin Arclight’s ‘Aurora’ By Nick Vivarelli IRANIAN AUTEUR Mohammad Rasoulof, By Leo Barraclough Breakers,” “The Virgin Suicides”) and Toby whose feature, “There Is No Evil,” screens MEGAN FOX, best known for “Transform- Gibson (“The Lego Movie” franchise) to in competition at the Berlinale, is one of his ers” and “Teenage Mutant Ninja Turtles,” produce and finance the pic. The script is country’s most prominent directors even is set to star in suspense thriller “Aurora.” written by Pete Bridges, Toby Gibson and though none of this films have screened in Arclight Films will start worldwide sales Stuart Willis (“Restoration”). Tim Peternel Iran, where they are banned. In 2011, the for the movie at the European Film Market will executive produce. Production is set to year he won two prizes at Cannes with his in Berlin. start in May in Serbia. censorship-themed “Goodbye,” Rasoulof “Aurora,” to be directed by Lazar Bodroža Arclight’s “Possessor” premiered at was sentenced with fellow director Jafar (“A.I. Rising”), tells the story of a female Sundance in competition, and the com- Panahi to six years in prison and a 20-year astronaut stationed in outer space to moni- pany is screening four new films at EFM. ban on filmmaking for alleged anti-regime tor solar storms that endanger earth. It recently announced its new project, propaganda. His sentence was later sus- Arclight, led by Gary Hamilton, has “The Portable Door,” starring Christoph pended and he was released on bail. He will joined forces with Jordan Gertner (“Spring Waltz and Guy Pearce. not attend Berlin.

“There Is No Evil” deals with the death penalty in Iran. Irons Man The four components of the ﬁlm do deal with the death penalty, but they go further. They are more generally about disobedi- ence and the fact that when you resist a system, when you resist against a power, what is the responsibility that you take? Do you take responsibility for your own resistance? And what’s the price that you have to pay for that? If I take my own example, I can say that by resisting I’ve deprived myself of many aspects of life, but I’m glad that I’m resisting.

How difficult was it to get “There Is No Evil” made? I am not banned from working. The problem is that they [the authorities] are too per- verse to put it so simply. It’s not that they ban you; it’s that they make your life harder every time by not giving permits, and not letting you work. It’s a very complex system.

They don’t say it officially. That’s also the Berlin Film Festival jury president Jeremy Irons greets fans and the press at the jury conference beauty of the project: this is a massive resis- Thursday. At the presser, he read a statement about past controversials comments. tance to the power and to the censorship system. The fact that there has been a whole crew gathered around me sharing my views EXCLUSIVE and my desire to resist to the system. And my making this film happen no matter what. Best Friend Taps ‘Bootlegger’ How are tensions with the U.S. impacting filmmakers in Iran? By Elsa Keslassy Currently in post, “Bootlegger” was There is a conservative backlash, and its BRUSSELS-BASED company Best Friend written by Monnet and Daniel Watchorn. impact on cinema is very obvious. Very Forever has acquired international sales Set in contemporary Northern Quebec, recently at the Fajr Film Festival [in Teh- rights to Caroline Monnet’s feature debut the film follows Mani, an ambitious lawyer ran] half of the films presented there were “Bootlegger” which won best screenplay at in her 20s who heads back to her remote entirely financed by the government. More Cannes’ Cinefondation in 2017. Indigenous community to help her people specifically, [by] the military investment Artist Monnet has shed light on Indig- free themselves from outdated laws. that is behind this fund. ... So the indepen- enous identity and has debunked stereo- “Bootlegger” is headlined by Devery dent film community is getting smaller. And types through her works, which have been Jacobs and Pascale Bussières. Catherine the pressure that they feel indicates that shown at the Whitney Biennial in New Chagnon at Microclimat Filmsis producing. there is a specific plan on the part of the York, among other galleries around the Pierre Even exec produces. MK2 Mile End security and military forces in Iran to use world. She has also earned critical acclaim will release “Bootlegger” in Canada at the

cinema as a tool. with her short ﬁlms. end of the year. JENS SCHLUETER/EPA-EFE/SHUTTERSTOCK

6 VARIETY GERMAN FILMS IN BERLIN

ENCOUNTERS

THE LAST CITY by Heinz Emigholz SALES Filmgalerie 451

Wed, 26 Feb, 11:00, CinemaxX 3 (Press) Wed, 26 Feb, 18:00, CinemaxX 7 Thu, 27 Feb, 17:00, Cubix 6 Fri, 28 Feb, 22:00, International Sun, 1 Mar, 10:30, CinemaxX 10 © Filmgalerie 451 © Filmgalerie ENCOUNTERS

NAKED ANIMALS by Melanie Waelde SALES Media Luna New Films

Fri, 21 Feb, 11:00, CinemaxX 3 (Press) Fri, 21 Feb, 18:15, CinemaxX 7 Sat, 22 Feb, 17:15, Cubix 6 Sun, 23 Feb, 22:00, International Sun, 1 Mar, 20:00, Urania © Czar Film ENCOUNTERS

ORPHEA by Alexander Kluge & Khavn SALES Rapid Eye Movies

Mon, 24 Feb, 20:45, CinemaxX 5 & 10 (Press) Tue, 25 Feb, 12:30, CinemaxX 7 Wed, 26 Feb, 20:00, Cubix 6 Thu, 27 Feb, 18:45, Haus der Berliner Festspiele Sun, 1 Mar, 12:45, CinemaxX 10 © Kairos Film/Rapid Eye Movies Eye Film/Rapid © Kairos BERLINALE SHORTS

A DEMONSTRATION by Sasha Litvintseva & Beny Wagner (DE/NL/GB) SALES Video Power

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INFLORESCENCE by Nicolaas Schmidt SALES Nicolaas Schmidt

Mon, 24 Feb, 21:30, Cubix 9 Wed, 26 Feb, 17:00, Colosseum 1 Thu, 27 Feb, 16:30, CinemaxX 3 Thu, 27 Feb, 21:00, Moviemento Fri, 28 Feb, 16:30, Zoo Palast 3 © Nicolaas Schmidt © Nicolaas

Scan here to see the full line-up of all German films at the Berlinale 2020

SCREENING GUIDE

“Minamata,” based on a true story, screens as a Berlinale Special.

FESTIVAL SCREENINGS

FEB. 21

09:00 DIRECTOR: Uisenma 10:00 SECTION: Panorama of the Organism Brazil, Switzerland Transmission VENUE: DIRECTOR: One of These Days Borchu Red Moon Tide Cubix 7 (no press) Francisco VENUE: Akademie SALES: RUN TIME: COUNTRIES: (press only) Nine Film (press only) 92 mins. Yugoslavia, Márquez der Künste SECTION: Panorama COUNTRY: Spain Germany SALES: N/A COUNTRIES: Germany, U.S. RUN TIME: 116 mins. VENUE: DIRECTOR: DIRECTOR: SECTION: DIRECTOR: Bastian Günther CinemaxX 7 Lois Patiño Sune – Best Man Dušan Panorama RUN TIME: SALES: VENUE: SALES: The Match 91 mins. Lights On (no press) Makavejev CinemaxX 6 14:00 SECTION: COUNTRY: SALES: RUN TIME: Factory Forum Sweden N/A 96 mins. 09:30 VENUE: DIRECTOR: SECTION: Kids Run SECTION: Panorama Cubix 5 Jon Forum RUN TIME: VENUE: 11:30 (press and accr.) VENUE: CinemaxX 6 Minamata (no press) 84 mins. Holmberg Akademie COUNTRY: SALES: COUNTRY: Germany RUN TIME: 120 mins. U.K. Global Screen der Künste Mum, Mum, Mum DIRECTOR: Andrew Mum, Mum, Mum SECTION: Generation RUN TIME: 84 mins. (press and accr.) DIRECTOR: Barbara Ott VENUE: COUNTRY: SALES: Persian Lessons Levitas (no press) Urania Argentina The Yellow Affair SALES: COUNTRY: RUN TIME: DIRECTORS: (press only) HanWay Argentina 88 mins. Kill It and Leave SECTION: Perspektive SECTION: DIRECTORS: COUNTRIES: Russian Berlinale Sol This Town Sol Berruezo Deutsches Kino 10:30 Federation, Germany, Special Berruezo (press only) Pichon-Rivière VENUE: Cubix 6 VENUE: Zoo Palast 1 Pichon-Rivière Hidden Away COUNTRY: Poland SALES: N/A Belorussia RUN TIME: 104 mins. RUN TIME: SALES: DIRECTOR: SECTION: DIRECTOR: Vadim 115 mins. N/A (no press) Mariusz Generation SECTION: COUNTRY: VENUE: Perelman Generation Italy Wilczyński Cubix 8 15:00 VENUE: DIRECTOR: SALES: RUN TIME: SALES: Memento Onward (no press) Zoo Palast 2 Giorgio Diritti N/A 65 mins. COUNTRY: RUN TIME: SALES: SECTION: Her Name Was SECTION: Berlinale U.S. 65 mins. RaiCom Encounters DIRECTOR: SECTION: VENUE: 13:30 Europa (no press) Special Dan Competition CinemaxX 3 VENUE: RUN TIME: COUNTRY: Germany VENUE: Berlinale Palast Scanlon Suk Suk Haus der 88 mins. On Body and Soul SECTION: DIRECTORS: Anja RUN TIME: 127 mins. Berlinale (press and accr.) Berliner Festspiele (no press) Special COUNTRIES: Hong RUN TIME: 118 mins. 11:15 COUNTRY: Hungary Dornieden, Juan David VENUE: DIRECTOR: Black Milk (no press) Friedrichstadt- Kong, China A Common Crime Ildikó Enyedi González Monroy DIRECTOR: 11:00 SALES: COUNTRIES: Germany, Palast Ray Yeung (press and accr.) N/A SALES: N/A RUN TIME: SALES: COUNTRIES: SECTION: Mongolia 103 mins. Films Boutique W.R. – Mysteries Argentina, On SECTION: Forum LARRY D. HORRICKS D. LARRY

VARIETY 9 SCREENING GUIDE

Expanded 16:30 The Viewing Booth SECTION: Competition 19:30 COUNTRIES: France, COUNTRIES: Brazil, France VENUE: Kino Arsenal 1 One Day (no press) (press only) VENUE: Berlinale Palast FREM (no press) Burkina Faso, Belgium DIRECTOR: Matias Mariani RUN TIME: 76 mins. COUNTRY: Hungary COUNTRIES: Israel, U.S. RUN TIME: 90 mins. COUNTRIES: Czech DIRECTOR: Joël Rich- SALES: MPM Premium DIRECTOR: Zsófia DIRECTOR: Ra’anan Republic, Slovak mond Mathieu Akafou SECTION: Panorama Swimming Out Till Szilágyi Alexandrowicz The Tango of the Republic SALES: N/A VENUE: CinemaxX 7 the Sea Turns Blue SALES: N/A SALES: ro*ca Films Widower and Its DIRECTOR: Viera SECTION: Forum RUN TIME: 102 mins. (no press) SECTION: On SECTION: Forum Distorting Mirror Čákanyová VENUE: CinemaxX 4 COUNTRY: People’s Transmission VENUE: CinemaxX 6 (no press) SALES: N/A RUN TIME: 77 mins. Duel in the Sun Republic of China VENUE: Akademie RUN TIME: 70 mins. COUNTRY: Chile SECTION: Forum (no press) DIRECTOR: Jia Zhang-ke der Künste DIRECTORS: Raúl Ruiz, VENUE: Kino Arsenal 1 19:45 COUNTRY: U.S. SALES: MK2 RUN TIME: 99 mins. 18:15 Valeria Sarmiento RUN TIME: 73 mins. Time to Hunt DIRECTORS: King Vidor, SECTION: Berlinale Naked Animals SALES: N/A (press only) William Dieterle Special Schlingensief – (no press) SECTION: Forum Kids Run (no press) COUNTRY: Republic SALES: N/A VENUE: Haus der A Voice that Shook COUNTRY: Germany VENUE: Delphi COUNTRY: Germany of Korea SECTION: Retrospective Berliner Festspiele the Silence DIRECTOR: Melanie Filmpalast DIRECTOR: Barbara Ott DIRECTOR: Yoon VENUE: CinemaxX 8 RUN TIME: 112 mins. (press allowed) Waelde RUN TIME: 64 mins. SALES: The Yelloe Affair Sung-hyun RUN TIME: 135 mins. COUNTRY: Germany SALES: N/A SECTION: Perspektive SALES: Contents Panda 15:30 DIRECTOR: Bettina SECTION: Encounters In Deep Sleep Deutsches Kino SECTION: Berlinale Minamata (no press) H Is for Happiness Böhler VENUE: CinemaxX 7 (no press) VENUE: International Special COUNTRY: U.K. (no press) SALES: N/A RUN TIME: 83 mins. COUNTRY: Russian RUN TIME: 104 mins. VENUE: CinemaxX 1 DIRECTOR: Andrew Levitas COUNTRY: Australia SECTION: Panorama Federation RUN TIME: 134 mins. SALES: HanWay DIRECTOR: John Sheedy VENUE: International 18:30 DIRECTOR: Maria Cocoon (no press) SECTION: Berlinale SALES: N/A RUN TIME: 124 mins. Time to Hunt Ignatenko COUNTRY: Germany 20:00 Special SECTION: Generation (press only) SALES: Reason8 Films DIRECTOR: Leonie Death of Nintendo VENUE: Friedrichstadt- VENUE: Urania 17:30 COUNTRY: Republic SECTION: Forum Krippendorff (press and accr.) Palast RUN TIME: 103 mins. Waxworks of Korea VENUE: CinemaxX 3 SALES: m-appeal COUNTRIES: Philippines, RUN TIME: 115 mins. (no press) DIRECTOR: Yoon RUN TIME: 71 mins. SECTION: Generation U.S. Hidden Away COUNTRY: Germany Sung-hyun VENUE: Urania DIRECTOR: Raya Martin 21:30 (press only) DIRECTOR: Paul Leni SALES: Contents Panda Wildland (no press) RUN TIME: 95 mins. SALES: Gersh Always Amber COUNTRY: Italy SALES: N/A SECTION: Berlinale COUNTRY: Denmark SECTION: Generation (press allowed) DIRECTOR: Giorgio Diritti SECTION: Berlinale Special DIRECTOR: Jeanette Ouvertures VENUE: Cubix 6 COUNTRY: Sweden SALES: RaiCom Classics VENUE: CinemaxX 9 Nordahl (press only) RUN TIME: 99 mins. DIRECTORS: Lia Hietala, SECTION: Competition VENUE: Friedrichstadt- RUN TIME: 134 mins. SALES: Bac Films COUNTRIES: U.K., France Hannah Reinikainen VENUE: CinemaxX 9 Palast SECTION: Panorama DIRECTOR: The Living The Murder of Fred SALES: Wide House RUN TIME: 118 mins. RUN TIME: 81 mins. The American Sector VENUE: Zoo Palast 1 and the Dead Hampton (no press) SECTION: Panorama (no press) RUN TIME: 88 mins. Ensemble COUNTRY: U.S. VENUE: CinemaxX 3 Hidden Away Télé Réalité COUNTRY: U.S. SALES: N/A DIRECTOR: Howard Alk RUN TIME: 76 mins. (press only) (no press) DIRECTORS: Courtney Show People SECTION: Forum SALES: N/A COUNTRY: Italy COUNTRIES: Belgium, Stephens, Pacho Velez (no press) VENUE: CinemaxX 6 SECTION: Forum Anne at 13,000 ft. DIRECTOR: Giorgio Diritti Germany, Democratic SALES: N/A COUNTRY: U.S. RUN TIME: 132 mins. VENUE: Akademie (no press) SALES: RaiCom Republic of Congo SECTION: Berlinale DIRECTOR: King Vidor der Künste COUNTRIES: Canada, U.S SECTION: Competition DIRECTORS: Lucile Special SALES: N/A Black Milk RUN TIME: 88 mins. DIRECTOR: Kazik VENUE: CinemaxX 7 Desamory, Glodie VENUE: Haus der SECTION: Retrospective (press allowed) Radwanski RUN TIME: 118 mins. Mubikay, Gustave Fundi Berliner Festspiele VENUE: CinemaxX 8 COUNTRIES: Germany, 20:30 SALES: Cercamon SALES: N/A RUN TIME: 70 mins. RUN TIME: 79 mins. Mongolia The Landing SECTION: Forum 16:00 SECTION: Forum DIRECTOR: Uisenma (no press) VENUE: Delphi Strike or Die Expanded 19:00 War and Peace Borchu COUNTRIES: Lebanon, Filmpalast (press only) VENUE: Werkstattkino@ The Intruder (no press) SALES: Nine Film United Arab Emirates RUN TIME: 75 mins. COUNTRY: France silent green (no press) COUNTRIES: Italy, U.S. SECTION: Panorama DIRECTOR: Akram Zaatari DIRECTOR: Jonathan RUN TIME: 88 mins. COUNTRIES: Argentina, DIRECTOR: King Vidor VENUE: Zoo Palast 2 SALES: N/A The Salt of Tears Rescigno Mexico SALES: N/A RUN TIME: 91 mins. SECTION: Forum (daily press only) SALES: N/A Victoria (no press) DIRECTOR: Natalia Meta SECTION: Retrospective Expanded COUNTRIES: France, SECTION: Forum COUNTRY: Belgium SALES: Film Factory VENUE: Zeughauskino After the Crossing VENUE: Werkstattkino@ Switzerland VENUE: CinemaxX 6 DIRECTORS: Sofie Entertainment RUN TIME: 190 mins. (no press) silent green DIRECTOR: Philippe RUN TIME: 93 mins. Benoot, Liesbeth RUN TIME: 63 mins. Garrel De Ceulaer, Isabelle SALES: Wild Bunch Onward (no press) Tollenaere Giorgio Diritti directed 20:45 SECTION: Competition COUNTRY: U.S. SALES: Filmotor “Hidden Away,” playing in Los Conductos VENUE: CinemaxX 9 Berlin competition. DIRECTOR: Dan Scanlon SECTION: Forum (press onlty) RUN TIME: 100 mins. SECTION: Berlinale VENUE: Kino Arsenal 1 COUNTRIES: France, Special RUN TIME: 71 mins. Colombia, Brazil Mogul Mowgli VENUE: Berlinale Palast DIRECTOR: Camilo (no press) RUN TIME: 103 mins. 18:00 Restrepo COUNTRY: U.K. The Earth Is Blue SALES: Best Friend DIRECTOR: Bassam Tariq Sweet Thing as an Orange Forever SALES: Charades (press and accr.) (press and accr.) SECTION: Encounters SECTION: Panorama COUNTRY: U.S. COUNTRIES: Ukraine, VENUE: CinemaxX 5 VENUE: Zoo Palast 1 DIRECTOR: Alexandre Lithuania and CinemaxX10 RUN TIME: 90 mins. Rockwell DIRECTOR: Iryna Tsilyk RUN TIME: 70 mins. SALES: Cinetic Media SALES: Cat & Docs My Salinger Year SECTION: Generation SECTION: Generation 21:00 (no press) VENUE: Cubix 6 VENUE: Cubix 6 Shine Your Eyes COUNTRIES: Canada, RUN TIME: 91 mins. RUN TIME: 74 mins. (press allowed) Ireland CHICO DE LUIGI

10 VARIETY Untitled-14 1

2/18/20 11:56 AM SCREENING GUIDE

DIRECTOR: Philippe Falardeau SALES: Memento SECTION: Berlinale Special MARKET SCREENINGS VENUE: Haus der FEB. 21 Berliner Festspiele RUN TIME: 101 mins. 09:00 The Lunchroom SALES: Screenbound SECTION: Market SALES: FiGa Films DIRECTOR: Kitty Green Acasa, My Home COUNTRIES: Uruguay, International Pictures VENUE: DFFB Studio SECTION: Berlinale SALES: Protagonist Oeconomia COUNTRIES: Finland, Argentina SECTION: Market RUN TIME: 129 mins. Special Pictures (no press) Romania, Germany DIRECTOR: Ezequiel VENUE: Cinemobile VENUE: CinemaxX 13 SECTION: Market COUNTRY: Germany DIRECTOR: Radu Radusky RUN TIME: 94 mins. The Mole Agent RUN TIME: 95 mins. VENUE: CinemaxX 15 DIRECTOR: Carmen Ciorniciuc SALES: New Europe COUNTRIES: Chile, RUN TIME: 86 mins. Losmann SALES: Autlook Film Sales Wolf Walk U.S., Germany, 10:35 SALES: N/A Filmsales SECTION: Market COUNTRY: France Netherlands, Spain Dreamkatcher 10:45 SECTION: Forum SECTION: Forum VENUE: CinemaxX 18 DIRECTOR: Jean-Michel DIRECTOR: Maite Alberdi COUNTRY: U.S. Madison VENUE: CinemaxX 4 VENUE: CinemaxX 15 RUN TIME: 79 mins. Bertrand SALES: Dogwoof DIRECTOR: Kerry Harris COUNTRIES: Germany, RUN TIME: 89 mins. RUN TIME: 85 Mins. SALES: FranceTV SECTION: Market SALES: Film Mode Austria Welcome to Distribution VENUE: DFFB Cinema Entertainment DIRECTOR: Kim Strobl 22:00 book-paper-scissors the Jungle SECTION: Market RUN TIME: 90 mins. SECTION: Generation SALES: ARRI Media FREM (press only) COUNTRY: Japan COUNTRY: France VENUE: CinemaxX 8 VENUE: CinemaxX 18 SECTION: Panorama COUNTRIES: Czech DIRECTOR: Nanako Directors: Hugo RUN TIME: 88 mins. 10:00 RUN TIME: 85 mins. VENUE: Gropius Republic, Slovak Hirose Benamozig, David Welcome to Chechnya Bau Cinema Republic SALES: ARTicle Films Caviglioli WTFilms promo reel COUNTRY: U.S. 10:40 RUN TIME: 86 mins. DIRECTOR: Viera SECTION: Market SALES: Indie Sales COUNTRY: France DIRECTOR: David France 18 Presents Čákanyová VENUE: Gropius Bau SECTION: Market SALES: WTFilms SALES: Submarine COUNTRY: Italy 10:50 SALES: N/A Cinema VENUE: CinemaxX 1 SECTION: Market SECTION: Panorama DIRECTOR: Francesco #iamhere SECTION: Forum RUN TIME: 94 mins RUN TIME: 90 mins. VENUE: CinemaxX 9 VENUE: Zoo Palast 4 Amato COUNTRY: France VENUE: CinemaxX 6 RUN TIME: 43 mins. RUN TIME: 107 mins. SALES: True Colours DIRECTOR: Eric Lartigau RUN TIME: 73 mins. I Used to Go Here 09:15 SECTION: Market SALES: Gaumont COUNTRY: U.S. Come Away 09:30 10:20 VENUE: CinemaxX 2 SECTION: Market The Swindle DIRECTOR: Kris Rey COUNTRY: U.K., U.S. A Thief’s Daughter A l’abordage! RUN TIME: 118 mins. VENUE: Arsenal (no press) SALES: Myriad Pictures DIRECTOR: Brenda COUNTRY: Spain COUNTRY: France Cinema 2 COUNTRIES: Italy, SECTION: Market Chapman DIRECTOR: Belén Funes DIRECTOR: Guillaume 10:40 RUN TIME: 95 mins. France VENUE: CinemaxX 5 SALES: Capstone SALES: Latido Films Brac Central Partnership DIRECTOR: Federico RUN TIME: 83 mins. Pictures SECTION: Market SALES: The Party Line-Up Lola Fellini SECTION: Market VENUE: Parliament Film Sales COUNTRY: Russia COUNTRIES: France, SALES: N/A Minyan VENUE: Arsenal Studio SECTION: Market DIRECTORS: Michael Belgium SECTION: Berlinale COUNTRY: U.S. Cinema 2 RUN TIME: 102 mins. VENUE: Arsenal Lokshin, Danila DIRECTOR: Laurent Classics DIRECTOR: Eric Steel RUN TIME: 94 mins. Cinema 1 Kozlovsky, Svyatoslav Micheli VENUE: International SALES: Visit Films Bac Films RUN TIME: 95 mins. Podgaevsky, Alexey SALES: Les Films RUN TIME: 112 mins. SECTION: Market Influence Promo Reels Nuzhniy du Losange VENUE: CinemaxX 11 COUNTRIES: South COUNTRY: France 10:25 SALES: Central SECTION: Market Maggie’s Farm RUN TIME: 118 mins. Africa, Canada DIRECTOR: Various My Salinger Year Partnership VENUE: Otto-Braun-Saal (no press) Directors: Richard SALES: BAC Films COUNTRIES: Canada, SECTION: Market RUN TIME: 91 mins. COUNTRY: U.S. Monty and the Poplak, Diana Neille SECTION: Market Ireland VENUE: CinemaxX 1 DIRECTOR: James Street Party SALES: Cinetic Media VENUE: CinemaxX 2 DIRECTOR: Philippe RUN TIME: 90 mins. Paradise Benning COUNTRY: Denmark SECTION: Market RUN TIME: 60 mins. Falardeau COUNTRIES: Slovenia, SALES: N/A DIRECTORS: Mikael VENUE: CinemaxX 19 SALES: Memento Films Muscle Italy SECTION: Forum Wulff, Anders RUN TIME: 106 mins. Goddess of the International COUNTRIES: U.K., France DIRECTOR: Davide VENUE: Kino Arsenal 1 Morgenthaler Fireflies SECTION: Market DIRECTOR: Gerard Del Degan RUN TIME: 84 mins. SALES: TrustNordisk Vilom COUNTRY: Canada VENUE: CinemaxX 9 Johnson SALES: Fandango SECTION: Panorama COUNTRY: India DIRECTOR: Anaïs RUN TIME: 101 mins. SALES: WestEnd Films SECTION: Market Hidden Away VENUE: CinemaxX 13 DIRECTOR: Sunder Pal Barbeau-Lavalette SECTION: Market VENUE: CinemaxX 17 (no press) RUN TIME: 80 mins. SALES: Wide SALES: WaZabi 10:30 VENUE: CinemaxX 5 RUN TIME: 85 mins. COUNTRY: Italy SECTION: Market SECTION: Market Los Lobos RUN TIME: 111 mins. DIRECTOR: Giorgio My Donkey, My VENUE: CinemaxX 17 VENUE: CinemaxX 10 COUNTRY: Mexico 11:00 Diritti Lover & I (Invite only) RUN TIME: 79 mins. RUN TIME: 105 mins. DIRECTOR: Samuel The Assistant Black Water Abyss SALES: RaiCom COUNTRY: France Kishi Leopo COUNTRY: U.S. COUNTRY: U.K. SECTION: Competition DIRECTOR: Caroline Yummy Motel Acacia VENUE: Berlinale Vignal COUNTRY: Belgium COUNTRY: Philippines Palast SALES: Playtime DIRECTOR: Lars DIRECTOR: Bradley Jeremy Irons stars RUN TIME: SECTION: 118 mins. Generation Damoiseaux Liew in “Goddess of the VENUE: Otto-Braun-Saal SALES: Raven Banner SALES: Picture Tree Fireflies,” screening Zeus Machine. RUN TIME: 96 mins. Entertainment International in Generation14+. The Invincible SECTION: Market SECTION: Generation (no press) Pelle No-tail VENUE: CinemaxX 14 VENUE: CinemaxX 12 COUNTRY: Italy COUNTRY: Sweden RUN TIME: 90 mins. RUN TIME: 92 mins. DIRECTORS: David DIRECTOR: Christian Zamagni, Nadia Ryltenius 09:20 Nosari Impermanent Ranocchi SALES: REinvent Everything - The Eternity SALES: N/A International Sales Real Thing Story COUNTRY: Japan SECTION: Forum SECTION: Market COUNTRY: U.K. DIRECTOR: Tatsuya VENUE: Zoo Palast 2 VENUE: Arsenal Cinema 1 DIRECTOR: Simon Yamamoto

RUN TIME: 74 mins. RUN TIME: 67 mins. Sheridan SALES: Open Sesame GUÉRIN LAURENT

12 VARIETY PALOMAR and RAI CINEMA PRESENT

ELIO GERMANO FESTIVAL DE CANNES BEST ACTOR IS ANTONIO LIGABUE HIDDEN AWAY A ﬁlm by GIORGIO DIRITTI

PREMIERE OFFICIAL SCREENINGS MARKET SCREENING CONTACTS Berlinale Palast Haus der Berliner Festspiele CinemaxX 10 Alessandro Ravani 21.02 / 22:00 !**1" 22.02 / 10:30 !**1" 23.02 / 17:00 !**1" Head of sales [email protected] www.raicom.rai.it Friedrichstadt - Palast Cristina Cavaliere 22.02 / 14:30 !**1" [email protected]

City Kino Wedding (Kiez Kino event) 22.02 / 21:30 !**1"

Untitled-6 1 2/11/20 11:10 AM SCREENING GUIDE

DIRECTOR: Andrew SECTION: Market Distribution VENUE: CinemaxX 17 DIRECTOR: Nigina Vianney Lebasque SALES: Dutch Features Traucki VENUE: Simon- SECTION: Market RUN TIME: 101 mins. Sayfullaeva SALES: WTFilms Worldwide Content SALES: Altitude Bolivar-Saal VENUE: CinemaxX 9 SALES: M-Appeal – SECTION: Market Distribution Film Sales RUN TIME: 115 mins. RUN TIME: 101 mins. The Art of Raspberry & Cream VENUE: Russian House SECTION: Generation SECTION: Market Political Murder SECTION: Market RUN TIME: 108 mins. VENUE: CinemaxX 19 VENUE: CinemaxX 8 To Kill a Dragon 12:15 COUNTRIES: U.K., U.S. VENUE: CinemaxX 8 RUN TIME: 84 mins. RUN TIME: 100 mins. COUNTRY: Argentina Robo DIRECTOR: Paul Taylor RUN TIME: 82 mins. 13:10 DIRECTOR: Jimena COUNTRY: Russia SALES: Independent Dinner in America Under the Stars De Gaulle Monteoliva DIRECTOR: Sarik SECTION: Market 12:50 COUNTRY: U.S. of Paris COUNTRY: France SALES: Raven Banner Andreasyan VENUE: Gropius Bau Playtime Promo Reel DIRECTOR: Adam Carter COUNTRY: France DIRECTOR: Gabriel Entertainment SALES: Planeta Inform Cinema COUNTRY: France Rehmeier DIRECTOR: Claus Drexel Le Bomin SECTION: Market Group of Cos. RUN TIME: 89 mins. DIRECTOR: Various SALES: Visit Films SALES: Memento SALES: SND - Groupe M6 VENUE: DFFB Cinema SECTION: Market SALES: Playtime SECTION: Market Films International SECTION: Market RUN TIME: 83 mins. VENUE: CinemaxX 12 12:35 SECTION: Market VENUE: Parliament Studio SECTION: Market VENUE: CinemaxX 14 RUN TIME: 90 mins. Secret Impressionists VENUE: CinemaxX 2 RUN TIME: 106 mins. VENUE: CinemaxX 10 RUN TIME: 110 mins. 11:20 COUNTRY: Italy RUN TIME: 90 mins. RUN TIME: 85 mins. Perfumes 12:20 DIRECTOR: Daniele Pini Epicentro Single Street COUNTRY: France Charter SALES: Nexo Digital 12:55 COUNTRIES: France, 13:30 COUNTRY: Netherlands DIRECTOR: Grégory COUNTRIES: Norway, SECTION: Market The Curse of the Austria It Can’t Be Real DIRECTOR: Frank Krom Magne Sweden, Denmark VENUE: Arsenal Handsome Man DIRECTOR: Hubert COUNTRY: Turkey SALES: DFW SALES: Pyramide DIRECTOR: Amanda Cinema 2 COUNTRIES: Spain, Sauper Directors: Korhan International International Kernell RUN TIME: 80 mins. Argentina SALES: Wild Bunch Ugur, Konul Nagiyeva SECTION: Market SECTION: Market SALES: TrustNordisk DIRECTOR: Beda International SALES: Free Mind VENUE: Marriott 1 VENUE: CinemaxX 19 SECTION: Market 12:40 Docampo SECTION: Market Media Yapimcilik RUN TIME: 90 mins. RUN TIME: 100 mins. VENUE: CinemaxX 1 Shit Happens SALES: Filmax VENUE: CinemaxX 4 SECTION: Market RUN TIME: 95 mins. COUNTRY: Netherlands SECTION: Market RUN TIME: 107 mns. VENUE: DFFB 11:05 11:30 DIRECTOR: Anna van VENUE: DFFB Cinema Atelier Studio My Thoughts Little Ballerinas High Tide der Heide RUN TIME: 89 mins. Negative Numbers RUN TIME: 104 mins. Are Silent COUNTRY: France COUNTRY: Argentina SALES: Incredible Film COUNTRIES: Georgia, COUNTRY: Ukraine DIRECTOR: Anne- DIRECTOR: Veronica SECTION: Market 13:00 France, Italy Nightlife DIRECTOR: Antonio Claire Dolivet Chen VENUE: CinemaxX 18 Dogwashers DIRECTOR: Uta Beria COUNTRY: Germany Lukich SALES: Be For Films SALES: FilmSharks – RUN TIME: 96 mins. COUNTRY: Colombia SALES: Wide DIRECTOR: Simon SALES: Reason8 Films SECTION: Market The Remake Co. DIRECTOR: Carlos SECTION: Market Verhoeven SECTION: Market VENUE: Parliament SECTION: Market The German Lesson Moreno VENUE: CinemaxX 14 SALES: Picture Tree VENUE: Cinemobile Studio VENUE: CinemaxX 15 COUNTRY: Germany SALES: Latido Films RUN TIME: 90 mins. SECTION: Market RUN TIME: 104 mins. RUN TIME: 90 mins. RUN TIME: 106 mins. DIRECTOR: Christian SECTION: Market VENUE: CinemaxX 11 Schwochow VENUE: CinemaxX 16 13:15 RUN TIME: 112 mins. 11:10 11:50 Pari SALES: ARRI Media RUN TIME: 107 mins. Yalda, a Night for Identifying Features Golden Voices COUNTRIES: Greece, SECTION: Market Forgiveness 14:00 COUNTRIES: Mexico, COUNTRY: Israel France, Netherlands, VENUE: CinemaxX 5 13:00 COUNTRIES: France, Rustic Oracle Spain DIRECTOR: Evgeny Bulgaria RUN TIME: 125 mins. Nevia Germany, Switzerland, COUNTRY: Canada DIRECTOR: Fernanda Ruman DIRECTOR: Siamak COUNTRY: Italy Iran DIRECTOR: Sonia Valadez SALES: Intramovies Etemadi 12:45 DIRECTOR: Nunzia DIRECTOR: Massoud Bonspille Boileau SALES: Alpha Violet SECTION: Market SALES: Heretic Outreach Berlin, Berlin De Stefano Bakhshi SALES: Nish Media SECTION: Market VENUE: DFFB Atelier SECTION: Market COUNTRY: Germany SALES: True Colours SALES: Pyramide SECTION: Market VENUE: CinemaxX 16 Studio VENUE: CinemaxX 13 DIRECTOR: Franziska SECTION: Market International VENUE: CinemaxX 12 RUN TIME: 97 mins. RUN TIME: 88 mins. RUN TIME: 101 mins. Meyer-Price VENUE: Cinemobile SECTION: Market RUN TIME: 98 mins. SALES: Studio Hamburg RUN TIME: 86 mins. VENUE: Simon- 11:15 12:10 12:30 Enterprises Bolivar-Saal 14:05 The Good Traitor Death Notice Possessor SECTION: Market Selfie RUN TIME: 89 mins. The Elfkins - Baking COUNTRY: Denmark (No Press) COUNTRIES: Canada, U.K. VENUE: Marriott 1 COUNTRY: France a Difference DIRECTOR: Christina COUNTRIES: Hong DIRECTOR: Brandon RUN TIME: 85 mins. DIRECTORS: Thomas 13:20 COUNTRY: Germany Rosendahl Kong, China Cronenberg Bidegain, Marc The Columnist DIRECTOR: Ute von SALES: REinvent DIRECTOR: Herman Yau SALES: Arclight Films Fidelity Fitoussi, Tristan COUNTRY: Netherlands Münchow-Pohl International Sales SALES: Media Asia Film SECTION: Panorama COUNTRY: Russia Aurouet, Cyril Gelblat, DIRECTOR: Ivo van Aart SALES: Sola Media

a SANT & USANT PRODUCTION in co-production with A f ilm by VICTOR KOSSAKOVSKY LOUVERTURE FILMS

WORLD PREMIERE 23.02.2020 GUNDA 12:30 CinemaxX 7 Executive Producer JOAQUIN PHOENIX

SCREENING GUIDE

SECTION: Market 14:30 SECTION: Market Distribution VENUE: Arsenal Cinema 2 The Hidden Life VENUE: CinemaxX 14 SECTION: Market RUN TIME: 78 mins. of Trees RUN TIME: 92 mins. VENUE: CinemaxX 15 COUNTRY: Germany RUN TIME: 98 mins. 14:20 DIRECTOR: Joerg Adolph The Fanatic Black Widow SALES: Global Screen COUNTRY: U.S. 15:50 COUNTRY: Netherlands SECTION: Market DIRECTOR: Fred Durst Blast DIRECTOR: Diederik VENUE: CinemaxX 18 SALES: VMI Worldwide COUNTRY: France van Rooijen RUN TIME: 98 mins. SECTION: Market DIRECTOR: Vanya SALES: DFW VENUE: Marriott 2 Peirani-Vignes International 14:40 RUN TIME: 88 mins. SALES: Wide SECTION: Market Blithe Spirit SECTION: Market VENUE: Marriott 1 COUNTRY: U.K. Worth (Invite Only) VENUE: CinemaxX 1 RUN TIME: 116 mins. DIRECTOR: Edward Hall COUNTRY: U.S. RUN TIME: 89 mins. SALES: Protagonist DIRECTOR: Sara Faith Pictures Colangelo Frida. Viva la Vida COUNTRY: Italy SECTION: Market SALES: MadRiver COUNTRY: Italy DIRECTOR: Valentina VENUE: Otto-Braun-Saal International DIRECTOR: Giovanni Pedicini RUN TIME: 96 mins. SECTION: Market Troilo SALES: Fandango VENUE: Simon- SALES: Nexo Digital SECTION: Market Gogo Bolivar-Saal SECTION: Market VENUE: CinemaxX 17 COUNTRY: France RUN TIME: 118 mins. VENUE: CinemaxX 12 RUN TIME: 93 mins. DIRECTOR: Pascal RUN TIME: 93 mins. Plisson 15:05 Fantastic Return SALES: Wild Bunch Lunana: A Yak in Takeover (No Press) to Oz International the Classroom COUNTRY: Germany COUNTRY: Russia SECTION: Market COUNTRY: Bhutan DIRECTOR: Florian Ross DIRECTOR: Fedor VENUE: Cinemobile DIRECTOR: Pawo SALES: Picture Tree Dmitriev RUN TIME: 83 mins. Choyning Dorji International SALES: Wizart SALES: Films Boutique SECTION: Market SECTION: Market 14:45 SECTION: Market VENUE: DFFB Atelier VENUE: CinemaxX 15 Rose Stone Star VENUE: CinemaxX 4 Studio RUN TIME: 75 mins. COUNTRY: Italy RUN TIME: 109 mins. RUN TIME: 84 mins. DIRECTOR: Marcello Mi Vida Sannino 15:10 16:00 COUNTRIES: SALES: Rai Com Mossad Strike or Die Netherlands, Spain SECTION: Market COUNTRY: Israel COUNTRY: France DIRECTOR: Norbert VENUE: DFFB Cinema DIRECTOR: Alon Gur DIRECTOR: Jonathan Ter Hall RUN TIME: 94 mins. Arye Rescigno SALES: Nine Film SALES: Intramovies SALES: Forum Office SECTION: Market 14:50 SECTION: Market SECTION: Market VENUE: CinemaxX 13 Divorce Club VENUE: Parliament VENUE: CinemaxX 6 RUN TIME: 90 mins COUNTRY: France Studio RUN TIME: 94 mins. DIRECTOR: Michael Youn RUN TIME: 96 mins. Narcissus and SALES: SND - 16:05 Goldmund Groupe M6 15:25 Summer White COUNTRIES: Germany, SECTION: Market Gipsy Queen COUNTRY: Mexico Austria VENUE: CinemaxX 16 COUNTRIES: Germany, DIRECTOR: Rodrigo DIRECTOR: Stefan RUN TIME: 106 mins. Austria Ruiz Patterson Ruzowitzky DIRECTOR: Hüseyin SALES: Visit Films SALES: Beta Cinema Farewell Amor Tabak SECTION: Forum SECTION: Market COUNTRIES: U.S., Angola SALES: ARRI Media VENUE: CinemaxX 17 VENUE: CinemaxX 8 DIRECTOR: Ekwa Msangi SECTION: Market RUN TIME: 85 mins. RUN TIME: 120 mins. SALES: Film VENUE: Arsenal Constellation Cinema 2 16:10 Once Upon a Time ... SECTION: Market RUN TIME: 117 mins. The Painter and in Bethlehem VENUE: CinemaxX 19 the Thief COUNTRY: Italy RUN TIME: 101 mins. 15:35 COUNTRY: Norway DIRECTORS: Salvore Man Up! DIRECTOR: Benjamin Ree Ficarra, Valentino Fatima COUNTRY: France SALES: Autlook Picone COUNTRY: U.S., Portugal DIRECTOR: Benjamin Filmsales SALES: True Colours DIRECTOR: Marco Parent SECTION: Market SECTION: Market Pontecorvo SALES: Indie Sales VENUE: Gropius Bau VENUE: Gropius Bau SALES: Myriad Pictures SECTION: Market Cinema RUN TIME: 103 mins. SECTION: Market VENUE: CinemaxX 11 RUN TIME: 102 mins. VENUE: CinemaxX 5 RUN TIME: 93 mins. 14:30 RUN TIME: 111 mins. 16:15 Maternal 15:45 Into the World COUNTRY: Italy 15:00 Everything’s COUNTRY: France DIRECTOR: Maura In the Tracks of - Gonna Be Alright DIRECTOR: Marion Laine Delpero Special Edition (Invite Only) SALES: Pyramide SALES: Charades COUNTRY: France COUNTRY: Italy International SECTION: Market DIRECTOR: Pascale DIRECTOR: Francesco SECTION: Market VENUE: CinemaxX 2 Cuenot Bruni VENUE: Cinemobile RUN TIME: SALES: SALES: RUN TIME: 91 mins. Wide House Vision 91 mins. °Berlinale 70 ITALIANFILMSinFORUM

THE HOUSE OF LOVE LA CASA DELL’AMORE by Luca Ferri production Effendemfilm, Lab80 Film in collaboration with Enece film, Prima Luce, Start Premiere Sat 22nd h21:30 Delphi Filmpalast Official Screenings Sun 23rd h22:00 Zoo Palast 2 Thu 27th h19:30 Colosseum 1 Sat 29th h19:00 CinemaxX 4

contacts [email protected] federico.minetti@effendemﬁlm.com

ZEUS MACHINE. THE INVINCIBLE ZEUS MACHINE. L’INVINCIBILE by Nadia Ranocchi, David Zamagni production Zapruder

Premiere Fri 21st h22:00 Zoo Palast 2

Ofﬁcial Screenings Sat 22nd h19:30 CinemaxX 4 Sat 22nd h22:30 CinemaxX 6 (Press) Mon 24th h19:00 Cubix 9 Wed 26th h18:30 b-ware! Ladenkino Fri 28th h19:30 Colosseum 1

contact [email protected]

Visit the ITALIAN PAVILION @ the EFM Martin Gropius Bau, Stand 03/C7 www.ﬁlmitalia.org SCREENING GUIDE

Let There Be Light 16:45 17:30 Luxembourg, U.K. COUNTRIES: Slovakia, Nemesis One of These Days DIRECTOR: Elbert Czech Republic COUNTRY: Thailand COUNTRIES: Germany, van Strien DIRECTOR: Marko Skop DIRECTOR: Gunparwitt U.S. SALES: Rock Salt SALES: Loco Films Phuwadolwisid DIRECTOR: Bastian Releasing SECTION: Market SALES: M Pictures Günther SECTION: Market VENUE: CinemaxX 2 SECTION: Market SALES: The Match VENUE: CinemaxX 18 RUN TIME: 93 mins. VENUE: Russian House Factory RUN TIME: 115 mins. RUN TIME: 90 mins. SECTION: Market 16:20 VENUE: CinemaxX 10 The Fantastic The Innocence Two of Us RUN TIME: 120 mins. Journey of Margot COUNTRY: Spain COUNTRIES: Belgium, & Marguerite DIRECTOR: Lucia France, Luxembourg 17:35 COUNTRY: France Alemany DIRECTOR: Filippo The Space DIRECTOR: Pierre Coré SALES: Filmax Meneghetti Between the Lines SALES: Orange Studio SECTION: Market SALES: The Party COUNTRY: Germany SECTION: Market VENUE: CinemaxX 18 Film Sales DIRECTOR: Vanessa VENUE: Gropius Bau RUN TIME: 92 mins. SECTION: Market Jopp Cinema VENUE: CinemaxX 14 SALES: Beta Cinema RUN TIME: 89 mins. 16:30 RUN TIME: 96 mins. SECTION: Panorama Breaking Surface VENUE: CinemaxX 12 Volare COUNTRIES: Norway, 17:00 RUN TIME: 122 mins. COUNTRY: Italy Sweden, Belgium Chambord – Then, DIRECTOR: Gabriele DIRECTOR: Joachim Now and Forever 17:40 Salvatores Hedén COUNTRY: France Morgue SALES: Rai Com SALES: TrustNordisk DIRECTOR: Laurent COUNTRY: Paraguay SECTION: Market SECTION: Market Charbonnier DIRECTOR: Hugo VENUE: DFFB Cinema VENUE: CinemaxX 8 SALES: FranceTV Cardozo RUN TIME: 97 mins. RUN TIME: 85 mins. Distribution SALES: FilmSharks – SECTION: Market The Remake Co. 18:15 One More Jump VENUE: Simon- SECTION: Market Hammamet COUNTRIES: Italy, Bolivar-Saal VENUE: CinemaxX 15 COUNTRY: Italy Switzerland, Lebanon RUN TIME: 78 mins. RUN TIME: 81 mins. DIRECTOR: Gianni DIRECTOR: Emanuele Amelio Gerosa Lassie Come Home Sakura (No Press) SALES: Minerva Pictures SALES: Fandango COUNTRY: Germany COUNTRY: Japan SECTION: Market SECTION: Market DIRECTOR: Hanno DIRECTOR: Hitoshi VENUE: CinemaxX 19 VENUE: DFFB Cinema Olderdissen Yazaki RUN TIME: 127 mins. RUN TIME: 82 mins. SALES: Global Screen SALES: Shochiku SECTION: Market SECTION: Market 18:30 The Crime Boss VENUE: Parliament Studio VENUE: CinemaxX 17 My Brother COUNTRY: U.S. RUN TIME: 96 mins. RUN TIME: 120 mins. Chases Dinosaurs DIRECTOR: Clark Duke COUNTRIES: Italy, Spain SALES: VMI Worldwide 17:25 Secret Zoo DIRECTOR: Stefano SECTION: Market Crazy Samurai COUNTRY: South Korea Cipiani VENUE: Marriott 1 Musashi DIRECTOR: Jae-gon Son SALES: Vision RUN TIME: 100 mins. COUNTRY: Japan SALES: Finecut Distribution DIRECTOR: Yuji SECTION: Market SECTION: Market Wendy Shimomura VENUE: CinemaxX 13 VENUE: CinemaxX 14 COUNTRY: U.S. SALES: My Theater D.D. RUN TIME: 117 mins. RUN TIME: 102 mins. DIRECTOR: Benh Zeitlin SECTION: Market SALES: Celluloid VENUE: DFFB Atelier 18:00 18:40 Dreams Studio Sin Valley of the Gods SECTION: Market RUN TIME: 91 mins. COUNTRIES: Russia, Italy COUNTRIES: Poland, VENUE: CinemaxX 3 DIRECTOR: Andrei Luxembourg, U.S. RUN TIME: 112 mins. The Good One Konchalovsky DIRECTOR: Lech COUNTRY: Italy SALES: ARRI Media Majewski 16:40 DIRECTOR: Vincenzo SECTION: Market SALES: Wide Luxor Marra VENUE: CinemaxX 2 SECTION: Market COUNTRIES: Egypt, U.K. SALES: True Colours RUN TIME: 134 mins. VENUE: CinemaxX 16 DIRECTOR: Zeina Durra SECTION: Market RUN TIME: 127 mins. SALES: Totem Films VENUE: Arsenal White Snake SECTION: Market Cinema 2 COUNTRY: China 19:05 VENUE: CinemaxX 19 RUN TIME: 95 mins. Directors: Amp Wong, Feels Good Man RUN TIME: 85 mins. JI Zhao COUNTRIES: U.S. Women (work in SALES: All Rights DIRECTOR: Arthur Jones 16:45 progress) Entertainment SALES: Visit Films Forgotten Flowers COUNTRY: Iceland, SECTION: Market SECTION: Market COUNTRY: Canada U.K., U.S. VENUE: Cinemobile VENUE: CinemaxX 11 DIRECTOR: André Forcier DIRECTOR: Anton RUN TIME: 98 mins. RUN TIME: 94 mins. SALES: Filmoption Sigurdsson International SALES: Reason8 Films 18:05 SECTION: Market SECTION: Market Marionette Full the full week’s VENUE: CinemaxX 16 VENUE: CinemaxX 11 COUNTRIES: schedule, visit RUN TIME: RUN TIME: 102 mins. 90 mins. Netherlands, www.efm-berlinale.de MAKE LOTS OF ROOM BERLIN 2020 IN YOUR AGENDA.

A SELECTION OF MARKET PREMIERES AND FESTIVAL FAVOURITES.

Berlinale Series Opening/Berlinale Special Gala Generation 14plus Generation 14plus Happily Married My Salinger Year Goddess of the Fireﬂies Pompei C’est comme ça que je t’aime Philippe Falardeau La déesse des mouches à feu Anna Falguères, John Shank Jean-François Rivard Anaïs Barbeau-Lavalette Production micro_scope (Canada), Production Tarantula (Belgium), Production Productions Casablanca Parallel Film Productions (Ireland) Production Coop Vidéo de Montréal Good Fortune Films (France), Sales Cineﬂix Media Sales Memento Films International Sales WaZabi Films micro_scope (Canada) Sales Jour2Fête February February February February 25 12:00 Zoo Palast Club B 21 10:25 CinemaxX 9 21 9:30 CinemaxX 10 25 16:30 Zoo Palast 2 21 10:30 Friedrichstadt-Palast 22 20:00 Urania 22 16:30 Urania 29 16:00 CinemaxX 5 21 21:30 Haus der Berliner Festspiele 23 20:00 Cubix 8 24 20:00 Cubix 8 25 13:30 CinemaxX 3 27 13:30 CinemaxX 3 29 11:00 CinemaxX 1 March 01 17:00 CinemaxX 1

Forum Market Screening Market Screening Anne at 13,000 ft Forgotten Flowers Rustic Oracle Kazik Radwanski Les ﬂeurs oubliées Sonia Bonspille Boileau André Forcier Production MDFF Production Nish Media Sales Cercamon (World), Production Les Films du Paria, Sales Nish Media MDFF (North America) Exogene Films Sales Filmoption International February February 21 14:00 CinemaxX 12 21 21:30 Delphi Filmpalast February 22 18:00 City Kino Wedding 21 16:45 CinemaxX 16 22 19:00 Cubix 9 29 21:00 CinemaxX 3 Rotterdam 2020 March 01 19:30 Werkstattkin@Silent Green

(P): Press Programming subject to change. Published according to information submitted.

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Untitled-16 1 2/18/20 12:02 PM Untitled-12 1 2/18/20 11:53 AM Untitled-12 2 2/18/20 11:53 AM FOCUS

Jan Komasa’s “Corpus Christi” earned an Oscar nomination as well as a healthy box-office return.

Local Hits Boost Film Biz

POLISH AUDIENCES EMBRACE HOME-GROWN PICS AND ARTHOUSE FARE ALIKE

BY CHRISTOPHER VOURLIAS

THOUGH JAN KOMASA’S “Corpus Christi” More tellingly, Polish films held their own already confirm that,” says Robert Kijak, was a dark horse in the best international against Hollywood mega-franchises, with CEO of distributor Next Film. feature film category at this year’s Acad- four local productions appearing with More blockbusters are to come, with emy Awards, it should have come as no the likes of Disney’s live-action “The Lion Next’s biggest release of the season, “365 surprise to see a Polish director walking King” and “Frozen 2” among the year’s 10 Days,” a “50 Shades”-style drama based the red carpet outside the Dolby Theatre highest-grossing films. on a best-selling erotic novel and directed on Feb. 9. “Corpus Christi” was the coun- That tally is hardly an outlier. In 2018, by Barbara Białowąs, expected to cause a try’s third Oscar nomination in the past six Polish films claimed the top four spots at stir. Kijak also has high hopes for Bartosz years for what was formerly known as the the year-end box office, while local mar- M. Kowalski’s forthcoming slasher film “In best foreign language film, joining Paweł ket share has held around 30% for much of the Forest, No One Will Sleep Tonight,” the Pawlikowski’s 2019 nominee “Cold War” the past decade — among the highest rates latest example of commercial filmmakers and Pawlikowski’s 2015 winner “Ida.” in Europe. And the local industry is off to in Poland embracing genres with a proven If these are heady times for the Pol- another fast start in 2020, with two Pol- track record abroad. ish film industry, however, the interna- ish productions — Maciej Kawulski’s “How Yet the Polish romcoms and mob thrill- tional kudos only tell part of the story. I Became a Gangster. True Story,” and the ers atop the box office is a relatively recent Poland continued its torrid stretch at the third installment in Władysław Pasikows- phenomenon. “Fifteen, 20 years ago, box office in 2019, as Europe’s sixth-larg- ki’s hit “Dogs” crime franchise — already moviegoers were ridiculing the attempts est theatrical market broke records for the topping 1 million admissions. “This year of local filmmakers to mimic Ameri- sixth year running, with total box office will definitely not be worse than the last can blockbusters — to make a good Pol- and admissions hitting all-time highs. one. January’s box office results can ish crime film, or to make a good Polish FILM MOVEMENT

22 VARIETY POLAND

romantic comedy,” says Jakub Duszyński of indie distributor Gutek Film. “It feels as if the “Sweat,” from Magnus von Horn, follows three new generation of producers nailed the for- days in the life of a mula, and they can deliver a film that pleases fitness instructor. local tastes and stands on a very high level of professional execution.” Not all of those efforts pan out. Amid the country’s rightward turn under the ruling Law and Justice party, some Polish producers have tried to cash in, mounting lavish war epics and patriotic period dramas. But most of their big-budget gambles have flopped. Local arthouse films, meanwhile, have fre- quently over-performed, bolstered by the growing international reputation of a generation of bold Polish filmmakers. Pawlikowski and Komasa aren’t the only directors to claim international accolades in recent years. Małgorzata Szumowska is a two-time winner of the Berlinale’s Silver Bear (“Body,” “Mug”), while Tomasz Wasilewski also triumphed in Berlin with “United States of Love.” Other rising Polish directors, including Agnieszka Smoczyńska (“The Lure,” “Fugue”) and Jan P. Matuszyński (“The Last Family”), are regulars at the world’s most prestigious film festivals. Robust financial backing from the Polish Film Institute, mean- Key Polish Titles at the 2020 while, has been instrumental in helping the younger generation to emerge. Jan Naszewski, CEO of Warsaw-based sales European Film Market agent New Europe Film Sales, estimates that Other People Salt Lake Warsaw about a young brothers on opposite roughly a quarter of admissions for Polish DIRECTOR: Aleksandra DIRECTOR: Kasia man who witnesses sides of the bloody releases last year were for films that could Terpińska Rosłaniec the fatal beating of his conflict. be considered arthouse — including 1.5 mil- PRODUCERS: Warner PRODUCER: Mañana friend by the police, SALES: TBA lion admissions for “Corpus Christi.” While Bros. Pictures, Sixty-year-old Helena and must stand up to the movie might have expected an Oscar Madants, Alcatraz feels like her husband’s the full force of the Wonder Zenia bump at the box office, most of those tickets Films property, but as parts communist regime in DIRECTOR: Małgorzata were sold before the nominations were even A musical drama of her life unravel and a order to testify about Szumowska PRODUCERS: announced, says Naszewski, who’s sold the about the relationship modeling opportunity the killing in court. Lava Films, between a young man arrives on her door- SALES: New Europe Match Factory Prods. film to more than 45 countries. from the projects with step, she opens herself Film Sales The story of an indus- “Corpus Christi” might also have been a dreams of becoming up to new experiences. trious Ukrainian revelation for Academy voters, but Komasa a hip-hop star, and a Selected for the Ber- Lipstick on the Glass migrant worker who is a known commodity in Poland. His feature 40-year-old woman linale Co-Production DIRECTOR: Kuba Czekaj makes house calls debut, the 2011 teen drama “Suicide Room,” living in a gated Market. PRODUCERS: Centrala as a masseur to the wracked up 800,000 admissions after pre- community, both SALES: TBA Film, Indi Film needy and aspirational miering in Berlin; his 2014 follow-up, “War- trying to escape from A dystopian vision residents of a mid- saw ’44,” pulled in more than 1.7 million. the loneliness and Anxiety of reality in which a dle-class gated com- He’s not the only Polish auteur to strike apathy of everyday life. DIRECTOR: Sławomir woman is induced to munity, becoming a box office gold. Pawlikowski’s “Cold War” SALES: TBA Fabicki abandon her gangster guru, confessor and PRODUCERS: had more than 1 million admissions in 2018, Apple husband to join a object of lust to his The Hater Film, Rohfilm Factory, feminist sect. A story clients. From the two- four times the number of tickets sold for Ste- DIRECTOR: Jan Komasa Climax Film about the right to self- time Berlin Silver Bear ven Spielberg’s own Cold War drama, “Bridge PRODUCERS: Naima An emotional tale of determination and winner. of Spies.” Matuszyński’s “Last Family” drew Film, dFlights, TVN, sisterly love by the female identity, still SALES: The Match 600,000 viewers, an impressive tally for a Canal Plus Polska, Oscar-nominated Fab- suppressed in the Factory disturbing biopic of the late-20th-century Coloroffon icki, about two sisters modern world. painter Zdzisław Beksiński. Oscar-nominee on a journey that takes SALES: TBA Sweat Those and similar successes have meant Komasa returns a dramatic turn when DIRECTOR: Magnus von a robust market for films that in other coun- with the story of a one is revealed to be White Courage Horn tries might struggle to find a wide theatrical man who ignores terminally ill. DIRECTORS: Marcin PRODUCER: Lava Films release. “Local distributors are really ready to his conscience to SALES: TBA Koszałka Three days in the life of PRODUCER: pay a lot to handle these local films, because work for a marketing Balapolis a fitness instructor and firm that tasks him Leave No Traces On the eve of WWII, social media celebrity they can produce huge profits — much larger with destroying the DIRECTOR: Jan P. a mysterious anthro- who, despite hundreds than American studio films,” says Duszyński. image of a fast-rising Matuszyński pologist and moun- of thousands of “Nobody’s begging you to release these films. politician, all the PRODUCERS: Aurum taineer encourages followers and legions You have to fight hard to be onboard with while involving him Film, Canal Plus Polska, a group of highland- of loyal admirers, lacks these top directors. Because everyone is able more deeply in a Background Films ers to collaborate with real intimacy in her life. to see the numbers that these films are pro- dangerous game. Based on real-life the Germans, a deci- SALES: New Europe ducing.” SALES: TBA events in 1980s sion that will put two Film Sales

VARIETY 23 BRAZIL

collecting 38 million real ($8.8 million) in 2007, $167.6 million in 2018, as Ancine Opening Up to established minority co-production funds, encouraged industry decentral- ization, and prized ﬁlms of “artistic innovation and relevance.” African Heritage The legacy of such actions can still be felt in Berlin’s 2020 Brazilian lineup. BRAZILIAN FILMS AT BERLIN FOCUS ON BLACK COMMUNITY Nearly half of the major section mov-

BY JOHN HOPEWELL AND JAMIE LANG ies are international co-productions, three at least as minority partners, financing movies made elsewhere. IN 2018, just 4% of funding applications from the rest of Latin America by its Portu- Many Brazilian films are set outside for Brazil’s Fundo Sectorial do Audiovisual guese language and own massive market. Brazil — in a spectral Colombia (“Los came from black filmmakers. This year, Cinema was the same. “At the turn of Contactos”), middle-class Argentina (“A the two biggest Brazilian movies at Berlin, the century, very few filmmakers — Caca Common Crime”), Algiers during its Rev- competition entry “All the Dead Ones” and Diegues, Walter Salles, Fernando Meire- olution of Smiles (“Nardjes A.”), Pata- Panorama player “Shine Your Eyes,” throw lles — looked to secure festival berths,” gonia, Montevideo and the Philippine sharp focus on Brazil’s majority black recalls André Sturm, who launched Brazil- mountains (“Window Boy Wants to Have community. ian export board Cinema do Brasil in 2005. a Submarine”) or Brazil’s provinces, such That’s no coincidence. Brazil has an Subsidizing festival attendance, it brought as Goiá state (LGBTQ sexual thriller “Dry extraordinary 13 features in major Ber- a sudden flood of largely young Brazilian Wind”) or bedraggled Amazonia (“Ama- linale sections, 19 films overall, an all-time producers to major markets, “teaching zon Mirror”). record making it Berlin’s fourth-larg- them the international arena and co-pro- “Diversity is one of the great qualities est national presence following Germany, duction as a source of not only money but of Brazilian cinema. Films of interna-

France and the U.S. market strength, and to network with the “Shine Your Eyes,” tional appeal are not only shot but pro- Explanations cut several ways. For Bra- international industry,” says Sturm. which plays in duced in different parts of the country,” zil, this year’s Berlinale presence marks a Simultaneously, film-TV agency Ancine Berlin’s Panorama, Sturm says. sheds light on long-term revolution. Last century, Brazil powered up production-distribution fund- Brazil’s black Even though a Sao Paulo thriller, the remained largely turned in on itself, cut off ing, its Audiovisual Sector Fund (FSA) community. protagonists of Matías Mariani’s “Shine Your Eyes’s” are two African brothers. “One of the unforeseen consequences of our current democratic crisis is that we’re noticing that Brazil is not special, that what is happening here is happening all around the world,” Mariani says. “Brazilian cinema has always been quite self-referential. We filmmakers are taking this opportunity to widen the scope of what qualifies as a Brazil- ian movie, to establish narrative connec- tions to other parts of the world. This will have a long-lasting positive effect on our craft.” “Berlin has a long history with Brazil- ian cinema, it’s part of the festival DNA, a relationship built over the years with producers, directors and different tal- ents,” says Panorama head Michael Stütz. Also this year, Berlin wanted to take a stand against the government’s threat to cinema, says fest artistic director Carlo Chatrian, pointing out that “Bacurau” director Kleber Mendonça Filho serves on the main festival jury. Soon, however, the festival “discov- ered a whole host of Brazilian titles wor- thy of selection,” he adds. Made largely by a new generation of cineastes — 10 of the 13 titles in main sections are first or second features or fiction debuts — iconoclastic, combat- ive and eye-opening, playing with genre and pushing gender, racial and cultural diversity, the films are close to Berlin’s selection sensibilities, Chatrian says. “Brazil has a vibrant cinema and culture. We wanted to make it one of the fes-

tival’s highlights,” he told Variety. PRIMO FILMES

24 VARIETY YEARS AT BERLINALE 128 BRAZILIAN FILMS CINEMA DO BRASIL AND COUNTING...! SUPPORTS THE BRAZILIAN FILM INDUSTRY ABROAD

M EET OUR TEAM AT GROPIOUS-BAU #137

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Untitled-4 1 2/18/20 11:41 AM BRAZIL

as audiovisual secretary for Bolsonaro’s regime. His selection must now be ratified by Brazil’s new culture minister, former telenovela actress and staunch Bolsonaro supporter Regina Duarte. What survival strategies can producers employ in such circumstances? The effective freeze looks set to accelerate the diaspora of film companies towards producing series or films for OTT platforms or broadcasters, says Felipe Braga, creator of two Netflix series, “¡Samantha!” and “Sintonia.” “Thankfully companies like Amazon and Hulu are starting to arrive, and Globoplay is becoming a major player in this context, in which HBO and Netflix have been game-changers,” he adds. Secondly, people will be looking for angel organizations such as Project Paradise, an initiative funded by the Brazilian philanthropy organization Olga Rabinovich institute, which supports 11 films at this year’s Berlin Film Festival. Other producers may turn to local or regional funds for backing. “Municipalities are pitching in, cities such as Niterói and São Paulo are releasing public resources for the local industry,” says writer-producer André Mielnik, who has Encounters entry “Los Conductos” and eight projects with him at this year’s EFM. Jair Bolsonaro leads a São Paulo’s Spcine, for instance, has Brazilian government provided financial support for four films at looking to cut back on film funding. this year’s festival. The region saw a 96% increase in productions receiving backing between 2017 (28) and 2019 (61). “Currently, the city of São Paulo represents 25% of all audiovisual productions in Brazil, has the second- Incentives Dry Up, largest film commission in Latin America which is responsible for more than a thousand films annually, and houses Strangling Production 1,537 production companies,” says Spcine president Laís Bodanzky. GOV’T LOOKS TO CUT OFF FUNDING FOR AUDIOVISUAL SECTOR FUND Yet as Allis points out, FSA funding backing decentralized funds, accounting BY JOHN HOPEWELL AND JAMIE LANG for two thirds of Pernambuco regional film funding, no longer exists. The industry will likely become more A NEW APOCALYPSE now haunts Brazilian culture and cinema,” says Karim Aïnouz, dependent on European producers taking cinema. It’s one in a string of such director of “Invisible Life of Euridice ever more muscular stakes in movies upheavals over the past year including an Gusmão.” showcasing, ironically, Brazilian talent. envisaged 43% cut to the 2020 budget of Now, Ancine is under threat of The challenge, says producer-director Ancine, Brazil’s huge film-TV agency and disappearing altogether. Gustavo Steinberg ( “Tito and the Birds”) motor of movie funding, which is already On Feb. 19, a proposal will be voted is that “everybody expects you to find grinding almost to a halt. on in congress that extinguishes existing money in your own country as well.” Producers are still waiting to receive public funds not ratified by the end of the Most likely, somewhat fewer films will approved incentives. year via the enactment of a constitutional get made, but at significantly lower average “There are several producers, including amendment. One victim could be Brazil’s budgets. ourselves, who have projects that won biggest source of state finance, the “Needless to say, we will keep making support from the [Pernambuco] regional Audiovisual Sector Fund (FSA). films any way we can,” Ellis says. “But the fund in 2017 and 2018, but never received Producers looking to secure Ancine situation massively undermines advances it,” says Desvia producer Rachel Daisy Ellis funding are already obliged to indicate if made in recent years in forging an (“Divine Love”). their films include explicit sex or political industry in Brazil that reached all corners Independent productions are being themes, and their nature, viewed by many of the country, represented plural realities, strangled by the freeze. “It’s bleeding as a means of government censorship. promoted cultural diversity and acted as cinema, it’s bleeding culture. There is In December, former São Paulo secretary an important driver of regional economic

a sense of doom, an anemia regarding of culture André Sturm was appointed and social development.” ERALDO PERES/AP/SHUTTERSTOCK

26 VARIETY CINEMA DO BRASIL CELEBRATES 19 BRAZILIAN FILMS AT THE 70TH BERLINALE!

CINEMA DO BRASIL SUPPORTS THE BRAZILIAN FILM INDUSTRY ABROAD.

MEET OUR TEAM AT GROPIOUS-BAU #137 INFO@ CINEMADOBRASIL. ORG. BR WWW. CINEMADOBRASIL. ORG. BR

Untitled-4 1 2/18/20 11:42 AM BRAZIL

COMPETITION captures,” says Panorama head “Light in the Tropics,” “All the Dead Ones,” Michael Stütz. Paula Gaitán Brazilian Caetano Godardo, Marco Dutra SALES: The Open Reel “Brazilian films exceed traditional Following up on their Locar- notions of self-reflective auteurs, no-prized “Good Manners,” genre “Shine Your Eyes,” talking from personal viewpoints Films at the auteur Dutra and Gotardo deliver Matías Mariani about big questions for society,” says a lushly turned-out family drama “A big surprise,” says Carlos Chatrian, Chatrian. One case in point, and that converts ghostliness into polit- artistic director of the Berlin Film “totally unexpected,” he adds, is “Light ical metaphor, conflating 1899 Festival, a dreamlike psychological in the Tropics,” merging ethnographic Berlinale Sao Paulo with its high-rise pres- thriller, tracking Amidi searching for documentary and fiction to redis- ent, asking if the uneasy relation- older brother Ikenna in Sao Paulo’s cover Brazil’s indigenous communi- ship between Brazil’s white elite African community in a world of ties in a 255-minute triptych feature. 13 BRAZILIAN FEATURES PACK and black majority has essentially fluid identity, nostalgia for ancestral OUT BERLIN’S MAIN SECTIONS: changed. culture, labyrinthine architecture “Window Boy Wants to SALES: Indie Sales and moments of happiness. Have a Submarine,” HERE THEY ARE SALES: MPM Premium Alex Piperno BY JOHN HOPEWELL AND JAMIE LANG ENCOUNTERS A singular title for a singular film from “Los Conductos,” PANORAMA DOKUMENTE Uruguay’s Piperno, a low-fi sci-fi rela- Camilo Restrepo “Amazon Mirror,” tionship drama with social and eco- Pinky, on the run from a sect, takes Federico Segtowick logical overtones as a deckhand on a to squatting, making T-shirts for a A documentary that peels away Patagonia cruise ship discovers a por- living, taking drugs and spinning layers of corruption, media tal to a lonely young woman’s apart- images of the Apocalypse, damna- manipulation, ecological and ment in Montevideo. tion, revenge. A spectral, crazed human disaster behind the SALES: Square Eyes allegory of Colombian post-civil construction of the Amazon’s conflict reinsertion that won Mar Tupurí hydroelectric plant under GENERATION 14PLUS del Plata’s 2019 Works in Progress. military dictatorship. “Urgent, very “Alice Junior,” SALES: Best Friend Forever contemporary and beautifully shot Gil Baroni in black-and-white with very high Chatrian calls it a breath of fresh PANORAMA contrast,” says Stütz. air. The world of a transgender teen- “A Common Crime,” SALES: ELO Co. age YouTuber is flipped upside down Francisco Márquez when she moves to a conservative Set in class-riven Argentina and “Nardjes A.,” rural town with her always-supportive packing, reportedly, a great finale Karim Aïnouz single father. and commanding performance The latest from Aïnouz, following SALES: Moro Filmes from lead Elisa Carricajo as an 2019 Cannes Critics’ Week winner Argentine university teacher who “Invisible Life of Euridice Gusmão,” “My Name Is Baghdad,” fails to help her maid’s son, with lit- this is a documentary shot on the Caru Alves de Souza erally haunting consequences. fly capturing the empowerment, 17-year-old female skater Baghdad SALES: Cercamon exhilaration and illusions of Algeria’s lives in a São Paulo working-class Revolution of Smiles. neighborhood, skates with male “Dry Wind,” SALES: MPM Premium friends until she happens upon a Daniel Nolasco group of female skaters who change A seemingly straight-arrow, stylish FORUM everything. and candid LGBTQ erotic drama set “Divinely Evil,” SALES: Reel Suspects in Brazil’s sticks discovers hidden Gustavo Vinagre depths and finally a good-humored From a lavish, salmon-colored sit- “Sisters in the End of the World,” humanism as a stolid, bottled-up ting room adorned with Victorian Vinícius Lopes, Luciana Mazeto loner develops a sexual obsession furniture and leather-clad manne- Their mother is dying, father’s never

Caetano Godardo and Marco Dutra’s “All the for a statuesque factory co-worker. quins, Wilma Azevedo, 74, Brazil’s cared, but Ana and Ju find solidar- Dead Ones” (left) and “Alice Junior” both “Brazilian queer cinema has a “queen of sadomasochistic literature” ity in one other, even as the world

play Berlin. sense of urgency, which ‘Dry Wind’ tells her vibrant, sprawling life story. around them collapses. SOM E IMAGENS ALL THE DEAD ONES: HÉLÈNE LOUVA/T/DEZENOVE

28 VARIETY

XXXX REVIEWS

PANORAMA any aggression be called micro? In Koso- (Mišel Matičević) is not a veiled one. Arriv- BY GUY LODGE van-born director Visar Morina’s fine-cut ing home from his high-pressure job at a sophomore feature “Exile,” these are the chemical engineering firm, he finds a dead Exile considerations that drive a mild-mannered rat strung to his front gate — a physical Kosovan expat to the brink of madness in manifestation, it turns out, of his greatest staid German suburbia. phobia. There’s no sign of who left it there, Slicing into its protagonist’s psyche but given the abundance of lab rats at his with surgical finesse and discomfort, this office, Xhafer is swift to conclude that it’s a DIRECTOR, SCREENPLAY: Visar Morina queasy-comic character study pulls off a racist threat from a colleague, putting him STARRING: Mišel Matičević, Sandra Hüller, Rainer Bock, Thomas Mraz, Flonja Kodheli subtly perilous balancing act: It’s painfully on the alert for further signs of workplace exact in dramatizing the quiet xenophobia bigotry and harassment. Whether it’s he experiences on a daily basis, even as being left off an office email chain, one- the mounting possibility of paranoia tilts upped in meetings by his co-worker Urs THERE’S MUCH talk these days of micro- its point of view. Without trivializing its (Rainer Bock), or repeatedly misidentified aggressions: words and gestures of dis- political tensions, this ambiguity suspends as Croatian instead of Kosovan, every mild respect toward others, particularly those “Exile” anxiously in a realm between affront becomes a potential harbinger of of other social groups, that betray preju- Michael Haneke’s studies in domestic ter- deeper hatred, gradually chipping away at dice even when everyday or unintentional. ror and Ruben Östlund’s savage comedies Xhafer’s placid demeanor. It’s a term that sounds almost scientific, of masculine insecurity. The film’s highly Is he overreacting? His German wife, though as a unit of measurement, it’s frus- deliberate pacing and claustrophobic air frazzled Ph.D student Nora (a typically tratingly inexact: how many microaggres- of melancholia, while both assets, might superb Sandra Hüller), certainly thinks sions add up to plain, violent, not-so-small cramp its commercial prospects some- so, and the cracks in their relationship oppression? How many seemingly acciden- what, though a long festival run will follow widen the longer his persecution com- tal slights must one endure before crying appointments at Sundance and Berlin. plex is fueled. When it’s not an excoriat- malice? And if it makes you feel unsafe, can The first sign of hostility toward Xhafer ing anatomy of petty-to-vicious workplace KOMPLIZEN FILM KOMPLIZEN

30 VARIETY MEET THE BRAZILIAN PROFESSIONALS ATTENDING EFM THIS YEAR

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politics, “Exile” works as a brittle yet PANORAMA bruise-tender portrait of a marriage BY GUY LODGE slowly drained of empathy, as both spouses come to see themselves on sep- Welcome to Chechnya arate teams of one. Morina’s lean, Rorschach-like script itself avoids taking sides, while viewers’ own baggage may steer how they see the DIRECTOR: David France STARRING: David Isteev, Olga Baranova, Maxim Lapunov rationality or otherwise of Xhafer’s reac- tions. Somehow chilly and sympathetic at once, “Exile” understands how acts of kindness and violence alike can equally YOU CAN DO anything with a face on screen to Chechnya” is by far its most distressing: reinforce an immigrant’s outsider sta- these days, whether it’s shaving decades off grainy cellphone and surveillance cam- tus. A subplot centered on Xhafer’s pas- with a digital scalpel or deepfaking it into era footage of real-life homophobic attacks sionless affair with an Albanian office unrecognizable oblivion. Usually this wiz- in the republic. These horrific flashes reg- cleaner (Flonja Kodheli) cruelly twists ardry has the air of a stunt, a transforma- ularly punctuate the action, emphasizing the knife another quarter-turn, suggest- tion pulled off merely because it’s possible. the constant peril faced by its Chechen sub- ing how relentless xenophobic bully- Never, however, have such effects proven jects. The first of these, 21-year-old Muslim ing can seed equivalent callousness in as chillingly essential as they are in “Wel- lesbian “Anya,” is introduced via a desper- its victims. Though the film evokes its come to Chechnya,” a vital documentary ate phone call to David Isteev, a journalist corner of white-collar German society from journalist-turned-filmmaker David turned crisis response coordinator of the with a very particular kind of antiseptic France that urgently lifts the lid on one of Russian LGBT Network: an activist group blandness, it’s easy to imagine this story the most horrifying humanitarian crises of that arranges for endangered people like unfolding similarly in white picket-fence present times: the state-sanctioned purge of Anya to flee the region, sheltering them in America or Brexit Britain. LGBTQ people in the eponymous southern safe houses around Europe. Matičević’s remarkable performance Russian republic. Closely charting multiple It all amounts to a social “cleansing” is an exercise in pinched discipline, as missions to extract and protect brutalized project by Chechnya’s head of state Ramzan Xhafer’s unraveling state of mind regis- victims of the regime, France collects the Kadyrov, a gun-loving far-right thug who ters in the slightest of disruptions to his candid first-person perspectives that have denies the existence of such a campaign as taut, stoic mien. His impassive presence proven difficult to come by in this climate of vehemently as he denies the existence of works in stark, complementary con- terror — thanks in large part to face-altering any gay people in his republic at all. trast to Hüller’s more openly expres- technology that keeps their identities hid- France and co-writer/editor Tyler H. sive, exasperated Nora; they may speak den, but not their searing truth. Walk trace these institutional battle lines mutually fluent German at home, but “Welcome to Chechnya” further estab- with compelling rigor, but the heart of the when it comes to body language, they’re lishes France as America’s foremost doc- film is with the survivors retrieved by Isteev, at constant cross-purposes. umentarian on LGBTQ issues, following Baranova and their colleagues. In sequences Cinematographer Matteo Cocco is 2012’s Oscar-nominated “How to Survive a more racked with nail-digging tension than (Documentary) An HBO Docu- either in Xhafer’s corner or simply cor- mentary Films presentation of a Plague” and 2017’s “The Death and Life and any fictional prison-break film, France’s Public Square Films production in nering him, holding him close in the association with Ninety Thousand Marsha P. Johnson.” His third feature rep- camera unobtrusively follows the activ- Words, Maylo Films, BBC Sto- frame throughout as if to amplify his ryville. (International sales: Sub- resents a departure, however, from those ists on their runs into and out of Chechnya, marine, New York.) Producers: paranoia. In the office scenes, multi- Alice Henty, David France, Askold historical, archive-trawling studies, instead complete with subterfuge, disguise and Kurov, Joy A. Tomchin. Executive ple dreamy, winding tracking shots producers: Tomchin, Kevin Jen- taking the form of an anxiously in-the-mo- breath-halting border crossings. nings, Neal Baer, Masha Gessen, through a seemingly limitless warren Jonathan Logan, Jess Search, ment docu-thriller, tracking and braid- The closest thing here to an uplifting arc Lekha Singh, Jesse Tyler Fergu- of corridors distort our sense of Xha- son, Alan Getz,, Justin Mikita, ing the escape narratives of several human is still raddled with uncertainty and com- Stan Tomchin, Nancy Abraham, fer’s reality, while production designer Lisa Heller. Co-producers: Igor subjects in the present tense — often with- promise. Having been detained and tor- Myokotin, Tyler H. Walk. Co-ex- Christian Goldbeck is in on the game ecutive producers: Jon Murray, out tidy resolution or catharsis. This isn’t tured while working in Chechnya, gay Harvey Reese, Ted Snowdon, too, coloring interiors in bilious, sea- Duffy Violante.Director: David a story to reflect on, as Putin-directed events planner Maxim is released on the France. Writers: France, Tyler sick yellows and oranges that appear H. Walk. Camera: Askold Kurov, Chechen authorities continue to flatly deny strength of his Russian citizenship, only to Derek Wiesehahn. Editor: Walk. tinted by panic. The dimmest, most air- Music: Evgueni Galperine, Sacha the human rights violations under scrutiny: be pursued once more when authorities fear Galperine. Reviewed online, Lon- less tableaux are reserved for the film’s don, Jan. 26, 2020. (In Sundance, This necessarily upsetting film aims for he’ll tell his story to the media. United with Berlin film festivals.) Running domestic drama — including two strik- time: 107 MIN. WITH: David Isteev, immediate awareness and action. his boyfriend in the Moscow shelter, Maxim Olga Baranova, Maxim Lapunov. ing sex scenes composed of discon- (Russian, English dialogue) The pre-existing material in “Welcome resolves to take his case to the courts — nected, almost dehumanized body parts becoming the first survivor to testify about — where the protagonist’s sense of self the Chechen purge. sometimes seems to melt into the walls. Maxim’s story gives “Welcome to This is quivery sensory cinema that Chechnya” its clearest moments of emo- paints complex themes in space and tional release, but needless to say, his testi- light, sometimes with the camera itself mony hardly has a seismic effect on a crisis as aggressor: questioning and scruti- this crushingly entrenched — with only lim- nizing its protagonist to the last, exqui- ited awareness and support from the rest of sitely irresolute shot. the world. France’s film closes on a grimly telling statistical postscript, noting that of 151 survivors rescued by the Russian LGBT

Reviewed online, London, Feb. 10, 2020. (In Sundance, Berlin film Network and granted refugee status in other festivals.) Running time: 121 MIN. (Original title: “Exil”). PRODUC- TION: (Germany-Belgium) A Komplizen Film production in co-pro- countries, the Trump administration has duction with Frakas Prods., Ikonë Studio, WDR, ARTE, VOO, BeTV. (International sales: The Match Factory, Cologne.) Producers: accepted a grand total of zero. The ironically Janine Jackowski, Jonas Dornbach, Maren Ade. Co-producers: Jean- Yves Roubin, Cassandre Warnauts, Yll Uka, Valon Bajgora. Director, inviting title only hints at part of the story in screenplay: Visar Morina. Camera: Matteo Cocco. Editors: Morina, Laura Lauzemis, Hansjörg Weißbrich. Music: Benedikt Schiefer. this wholly devastating documentary: The WITH: Mišel Matičević, Sandra Hüller, Rainer Bock, Thomas Mraz,

Flonja Kodheli. (German, Albanian dialogue) crisis, it turns out, is all around us. FILMS PUBLIC SQUARE

32 VARIETY Untitled-14 1 2/18/20 11:57 AM REVIEWS

instantly drawn to Shirley. Beset with ago- raphobia and a host of other unnamed conditions (the most obvious being a virulent case of writer’s block) that leave her looking like a haggard mental patient — or worse, a witch — Shirley seems to be having a good day when the couple arrives. Evidently, Stanley and Shirley have an arrangement — he can cheat, so long as he doesn’t hide these dalliances from his wife — and she has mistaken Rose for which- ever co-ed he’s picked as his latest con- quest. Why she should take Rose any more seriously remains to be established, though they’ll get the chance to know one another more intimately in the months that follow, since Stanley, concerned with Shirley’s declining health and sanity, invites Fred and Rose to share their close-to-campus lair. Rose’s responsibility is to help in the kitchen and with various chores, but she’s far too independent not to go putting her nose into Shirley’s affairs. While her husband’s distracted with the new job, Rose exerts a kind of individuality that’s too sel- dom afforded female characters: Rose would be one-dimensional window dress- ENCOUNTERS experimental, semi-hallucinatory stories of ing in virtually any movie made at the time, BY PETER DEBRUGE what misogynistic midcentury shrinks once whereas “Shirley” imbues her with a com- dubbed “hysteria” — has been doing this plex inner life and desires that can’t neces- Shirley kind of subconsciousness spelunking with sarily be distilled into words. all her features, most recently in the fun- Though the sex with Fred is portrayed house maze that was “Madeline’s Madeline.” as being fairly frisky, there’s deliberate Whereas those slippery, deconstructiv- ambiguity in her increasingly sensual con- DIRECTOR: David France ist thrillers felt as if they had been cob- nection with Shirley, which neither of the STARRING: David Isteev, Olga Baranova, Maxim bled together in editing, “Shirley” benefits men suspects. Or do they? “You’re hiding Lapunov from Decker’s fragmented, broken-mirror something,” Stanley senses. For his part, approach, as well as the fact Sarah Gub- Stuhlbarg goes big in his portrayal of the bins wrote such a great script (adapted from boisterous professor, revealing both intel- SHIRLEY JACKSON was a real person, a Susan Scarf Merrell’s 2014 novel) to use as lect and insecurity as the twin threads of his writer best-known for her twisted short her template. So, rather than presenting harmlessly flirtatious personality. story “The Lottery,” although the version another puzzle with important pieces miss- As Shirley’s most trusted editor and presented in Josephine Decker’s “Shirley” ing, with this project, Decker provides more critic, Stanley desperately wants his wife feels more like a character from one of her material than we know what to do with, to return to her writing, but he might not own novels. Featuring “The Handsmaid’s and the resulting prism feels intellectually approve of the manuscript she’s undertaken Tale” actor Elisabeth Moss in the title role, rewarding, no matter the angle from which — it will ultimately become Jackson’s 1951 this queer, hard-to-quantify psychological we choose to approach it. genre novel “Hangsaman.” Her inspiration study isn’t a biopic so much as a séance — “Shirley” positions Shirley Jackson as a is the case of “a disappearing college girl,” a quasi-occult attempt to invoke the spirit shadowy supporting character in the story which she enlists Rose to help her investi- of such a singular author, who reinvented a that bears her name. She’s a figure of con- gate. Certain clues point to Stanley, though genre before her death half a century ago, siderable fascination for the film’s young there are so many rich mysteries simmer- via a film that seeks to channel her unset- protagonist, an intelligent, semi-repressed ing under “Shirley’s” surface that audiences tling style. (but also sexually adventurous) newlywed may well find other themes more enticing. If Jackson’s gift was to burrow her way named Rose (Odessa Young), who’s bright In a masterful use of her signature claus- into those corners of the brain one typi- enough to be an academic herself but yields trophobia-inducing style, Decker employs cally keeps under lock and key, then Decker to the demands of her husband Fred’s bud- Sturla Brandth Grøvlen’s shallow-focus seems like pretty much the ideal director ding career — this is the early 1950s, after all handheld camerawork and Tamar-kali’s to find the cinematic equivalent — and I say — and the changes necessitated by a preg- anxious score (a crazy-making mix of string this as someone who’s had an almost aller- nancy the couple have yet to announce. plucks and piano plunks) to wind up her gic reaction to her brand of indie-movie Clean-cut and handsome, yet oddly audience, till that aforementioned sweater doodles until this point. “Shirley’s” what we hands-off in the bedroom, Fred (“The Perks becomes a straitjacket, before revealing a might call “a real movie,” even though it’s of Being a Wallflower” star Logan Lerman, terrific twist that will leave audiences debat- sure to confound that segment of the film- looking barely old enough to have finished ing all that’s come before. going public who likes their mysteries with high school) has taken a temporary job as a A Los Angeles Media Fund presentation of a Killer Films production. no loose ends. By contrast, this is an itchy teaching assistant to free-spirited myth and (Int’l sales: Cornerstone Films, London.) Producers: Christine Vachon, David Hinojosa, Sue Naegle, Sarah Gubbins, Jeffrey Soros, Simon Hors- sweater that’s unraveling as you watch it, folklore professor Stanley Hyman (Michael man, Elisabeth Moss. Executive producers: Martin Scorsese, Allison Rose Carter, Alisa Tager, Cher Hawrysh. Director: Josephine Decker. Screen- thanks in large part to Moss’s wild-eyed turn Stuhlbarg, who may have had Allen Gins- play: Sarah Gubbins, based on the book written by Susan Scarf Merrell. Camera: Sturla Brandth Grovlen. Editor: David Barker. Music: Tamar-Kali. as the tortured genius. berg in mind) at a conservative liberal arts Reviewed at Sepulveda Screening Room, Jan. 20, 2020. (In Sundance, Berlin film festivals.) Running time: 107 MIN. WITH: Elisabeth Moss,

Decker — who’s been repeatedly drawn to college in small-town Vermont. Rose is Michael Stuhlbarg, Odessa Young, Logan Lerman. LAMF SHIRLEY INC

34 VARIETY Find out more at weareukfilm.com @weareukfilm REVIEW

YEAR CONTINUED P.1 some guy she meets in a socialist book- Falardeau gives faces to these strang- not about the frustrations of unrequited store (Douglas Booth). Together they rent a ers, misfits all, staging little vignettes in ambition so much as it is about a kind of run-down apartment for $560 a month (a which they dictate their letters in their nat- ill-defined yearning on the part of a bewil- steal, although it looks more like Montreal ural environment (up-and-coming Cana- dered young dilettante new to New York, than any of New York’s outer boroughs). dian actor Théodore Pellerin features most played here by Margaret Qualley. They go to poetry nights at the Panama often as “the boy from Winston-Salem”). For roughly one year, Joanna Rakoff Café and hold hands. He types his novel on Joanna is frustrated that she’s forbidden had a job for which countless readers a primitive computer, while she … well, she from sending more personal replies and would kill: She found herself in the posi- doesn’t write. Not really. That doesn’t seem breaks the rules at a certain point, with tion to answer a phone and hear, on occa- to be part of her fantasy of one day being unexpected consequences. But apart from sion, Salinger’s voice on the other end. At a writer, which must instead have more this tiny transgression, she’s too vanilla to times, this notorious hermit and presumed to do with giving readings, autographing be a very interesting character. curmudgeon would proactively express books and getting the kind of mail Salinger Working the agency job gave Rakoff curiosity toward her, offering unsolicited receives, only addressed to her instead. material for a book, but even then, much advice about writing (e.g. “Don’t get stuck Salinger himself had no interest in read- of that feels trite and immature. The more answering the phone. You’re a poet!”). But ing the correspondence that arrived in captivating figure here is Margaret, her Joanna displays very little reciprocal inter- piles from admirers, obsessives, movie boss, and Weaver demonstrates how it’s est in “Jerry,” as he’s known around the producers and all those who identified done, conveying a woman of complex office. She’s never read “The Catcher in the with “Catcher” strongly enough to reach mysteries, paradoxes and layers — all the Rye,” and she shows no intention in plug- out. However, since authorities believed things Joanna seems to lack. ging that gap. She comes across as one that his novel may have inspired Mark The other office workers (a mix of Cana- of those kids too young to have heard of David Chapman (who was arrested with the dian and Irish actors that includes Brían the Beatles, and too busy (doing what?) to book after killing John Lennon) and John F. O’Byrne and Colm Feore) don’t seem to bother giving them a listen. Hinckley Jr. (another unstable reader, who mind that Joanna’s bad at her job. For his Director Philippe Falardeau (who made took a shot at Ronald Reagan), the agency part, Salinger is downright friendly, even one very good movie in the form of “Mon- felt it prudent that someone should be on though we never get a proper look at him. sieur Lazhar”) has written Joanna Rakoff the lookout for warning signs. During her It’s a running theme that writers are dif- as well-read and intelligent, but Qualley tenure in the office, monitoring Salinger’s ferent than most people would probably has a dopey, nobody-home quality: The mail became Joanna’s principal duty, as imagine. But when it comes to accepting actress looks eager and ready to please, well as typing up form-letter responses to Joanna as one of them, the film never con- standing politely with her shoulders back everyone who wrote. vinces. and hands clasped like an obedient little schoolgirl, but there’s nothing happening behind the eyes. Portrayed thus, Sigourney Weaver stars in “My Joanna comes across as childlike, naive Salinger Year,” which opened and shockingly shallow. Though she’s no the Berlin Film Festival. doubt plenty bright in person, close-ups in which she’s shown thinking are eerily unconvincing. If Joanna wants to be a writer so badly, what’s stopping her? And if this was such an interesting job, why doesn’t she seem to realize it? When the real-life Rakoff applied for the position, she didn’t even know what a literary agent does, but felt that working for Westberg — whose name has been changed to Margaret, and whose identity Sigourney Weaver masterfully reinvents — would bring her closer to the world in which she pictured herself: the fabulous life of a published author. The truth is considerably less glam- orous, although Falardeau finds himself in a tricky predicament. The movie doesn’t show a complex enough represen- Reviewed at Berlin Film Festival, tation of either adult life or the New York Feb. 20, 2020. Running time: 101 MIN. PRODUCTION: (Can- literary world to be of much interest to ada-Ireland) A Memento Films Int’l presentation of a Micro_ grownups (it’s far more interested in Joan- Scope production, with Par- ralel Films, in association with na’s romantic life and dream sequences Memento Films Int’l, Screen Ire- land, Crave. (Int’l sales: Memento set at the Waldorf Astoria), which means Films, Paris.) Producers: Luc Déry, Kim McCraw. Co-produc- that “My Salinger Year” must have been ers: Ruth Coady, Susan Mullen. Executive producers: Philippe intended to inspire young women for Falardeau, Joanna Rakoff, Mary Jane Skalski, Hussain Amarshi, whom 1995 seems like the ancient past. Celine Haddad, Emilie Georges, Naima Abed. Director, writer: To that end, it presents the period of Philippe Falardeau, based on the book by Joanna Rakoff. Camera: Joanna’s entry-level dues-paying as a kind Sara Mishara. Editor: Mary Finlay. Music: Martin Léon.WITH: Mar- of bohemian bliss. She left her boyfriend garet Qualley, Sigourney Weaver, Douglas Booth, Seána Kerslake, in Berkeley and headed east to Manhat- Brían F. O’Byrne, Colm Feore, Théodore Pellerin, Yanic Trues- tan, crashing with a friend (Seána Ker- dale, Hamza Haq, Leni Parker, Ellen David, Romane Denis, Tim slake) at first, before shacking up with Post, Gavin Drea, Matt Holland. PHILIPPE BOSSÉ

36 VARIETY Untitled-24 1 2/10/20 2:14 PM NEWS

PREMIERE CONTINUED FROM P.1 SEMINAR CONTINUED FROM P.1 SCORE CONTINUED FROM P.1 Hosting the show, actor Samuel Finzi In his introduction, EFM director Mat- Troy falls in love with the waitress, Glo- offered an intense, often politically pointed thijs Wouter Knol noted the increasing ria (Ackie), and begins to question his life speech that focused largely on the plight of presence of streaming and VoD platforms choices. But it may be too late because Mike immigrants and on his own life as a Bulgar- attending this year’s market. In addition has brought him here to kill him. ian native in Berlin. “I have an immigration to Netflix and Amazon, Disney Plus, Apple “The Score” is written and directed by background, as the Germans say.” TV Plus and HBO Max will also be in Berlin Malachi Smyth (“Gateway 6”), and pro- “We shouldn’t isolate ourselves and and open for business, much to the annoy- duced by Matthew James Wilkinson of build walls,” Finze said. “Perhaps there is ance of independent distributors. Stigma Films (“Yesterday,” “Muscle”), someone trying to come to here that will At the same time, the number of pro- and Ben Pullen of Sentinel Entertainment be a great German hope. Cinema is about ducers attending the market rose by 40% (“Gateway 6”). Pont Neuf Prods.’ Isabelle shared experiences.” over the past year, he added. “For a market Georgeaux is co-producing. Over the next 10 days, the Berlinale like EFM, it’s crucial to keep producers on “The Score” will feature the music of will screen 18 films that are vying for the their radar.” Flynn, who is the lead singer and song- Golden Bear, among them Burhan Qurba- Independent producers in particular writer Johnny Flynn & The Sussex Wit. ni’s “Berlin Alexanderplatz,” “Kelly Reich- are vital in the industry as makers of con- Executive producers on the project are ardt’s “First Cow,” Mohammad Rasoulof’s tent, and markets like the EFM could cease Nick Angel, who collaborated with Wilkin- “There Is No Evil” and Natalia Meta’s “The to exist if the conditions to protect them son on “Yesterday,” and Tim Dellow of Intruder.” are no longer there, Wouter warned. Transgressive, which represents Flynn’s Chatrian said earlier that the films in the Alvaro Longoria, head of Spain’s Morena music. The film will begin shooting in the fest’s various sections this year “tell stories Films and president of the European Pro- U.K. on March 16. about humankind in all its megalomania ducer’s Club, said the new business model and its grandiose fragility.” ushered in by the streamers had com- pletely changed the industry and made MEMENTO CONTINUED FROM P.1 the situation more difficult for distributors Berlin with a promo. The company is also LAUNCH CONTINUED FROM P.1 of independent films, leaving many indie unveiling an exclusive first still of the film Estudio told Variety, announcing some of its players struggling as buying trends shift. (pictured). 2020-21 projects: “I think the EFM must be seeing that. The play “The Drover’s Wife: The Leg- The independent distributors are the core end of Molly Johnson” is a reimagining of • “Verguenza” stars Mexico’s Adrián Uribe of the independent co-production busi- Henry Lawson’s classic short story “The in a Mexican version of López Lavigne’s ness,” Longoria pointed out, adding that Drover’s Wife.” The story is set in 1893, Movistar Plus Original Series “Shame” for they were facing very difficult competition and centers on the pregnant Molly Johnson Lionsgate’s Latinx streamer Pantaya. from the big streaming companies who (Purcell) and her children who struggle • “El Baile de los 41,” a production with Net- can pay more for world rights. in isolation to survive the harsh Austra- flix and Cinepolis starring Alfonso Her- Longoria warned that the trend could lian landscape after her husband left to go rera, and set in a repressed 1901 Mexico lead to the extinction of entrepreneurship droving sheep in the high country. City. Project is from Mexico’s David Pablos, in the film business. “I consider myself to One day, she finds a shackled Aborig- whose “The Chosen Ones” played Cannes’ be an entrepreneur, I’m also a creator, a inal fugitive named Yakada (Rob Col- 2015 Un Certain Regard. producer, a talent manager. If I were work- lins) wounded on her property and forms • Directed by Kike Maillo, “Barcelona Tril- ing in a company, I doubt I would be doing an unlikely bond with him. Molly soon ogy” is a terrorist thriller series written by what I’m doing now.” becomes the target of the suspicious law- Xabi Puerta, co-produced by Karen and In a video message, Maja Cappello of the man Nate Clintoff (Sam Reid) who sends Howard Baldwin, Tod Slatter and Jeff Berg. European Audiovisual Observatory offered an officer to her home. The encounter • From Albert Espinosa, creator of “The Red a detailed look at European media policy between Molly, the officer and Yakada Band Society,” one of Spain’s biggest for- and guidelines that aim to protect inde- turns deadly and results in a tragic chain mat exports, comes feature film “Patio,” an pendent producers and diversity. of events with Molly becoming a symbol of action feature about school bullying. Doreen Boonekamp, former CEO of feminism and anti-racism. • An adaptation of Argentine Juan Sas- the Nederlands Film Fund and co-chair “’The Drover’s Wife’ story has been with turain’s novel “The Losers’ Playbook,” set of the EU’s Open Method of Coordination me most of my life, since I was a small in times of the Argentina’s dictatorship. (OMC) group of experts on co-productions, child. But to be able to now bring this clas- • Multiple more productions will be expressed the need to ensure basic princi- sic Australian story to the big screen and announced from Berlin through Cannes ples and cultural diversity but said ensur- reimagine it with an Indigenous heart and including titles with Chile’s Pablo Lar- ing an even playing field among the EU soul at its core has been an honor and a raín (“Jackie”), Argentina’s Pablo Trapero member states remained a challenge. privilege and one of the great joys and (“The Clan”), Spain’s Paco Plaza (“Veron- As a result of the changing landscape, challenges of my life,” said Purcell. ica”), Mexico’s Karla Souza (“How to Get financing circulation among European The producers said that the “The Drov- Away With Murder”), Omar Chaparro co-productions was increasingly under er’s Wife” short story is one of the most (“No Manches, Frida”) and Catalina Agui- pressure, she added. famous pieces of Australian literature, and lar Mastretta (“The Hours With You”), said “Leah Purcell has flipped this settler colo- Suárez. nialism story on its head and turned it in El Estudio is backed by Inicia, the par- to a call to arms by declaring war on Aus- ent company of Lantica Media, which owns/ tralia’s historical amnesia in respect of the operates Pinewood Dominican Republic Frontier Wars, misogyny and the myth of Studios. egalitarianism.” Lopez Lavigne, Cruz and Suárez have Bain Stewart at Oombarra and David produced a total 45 movies and 10 series Variety’s Jowsey at Bunya are producing with Steven Gaydos over the last 10 years, their movies accu- Angela Littlejohn and Greer Simpkin. “The moderated the mulating to date $620 million in global box EFM’s Seminar on Drover’s Wife” will be distributed in Aus-

ofﬁce. Thursday. tralia by Roadshow Films. EFM/LIADARJES

38 VARIETY INNOVATION IN THE AFRICAN FILM INDUSTRY

BERLINALE AFRICA HUB 21-26 FEB 2020 at MARRIOTT HOTEL Stand 141 AFRICA HUB AFRICA HUB TALKS PRESENTATIONS 21-25 FEB, between 3.30 – 4.30 pm 21-26 FEB, between 11 am – 1 pm

FRI, 21 FEB African Development Pools in Focus For more information and daily updates, Engage @ Berlinale Africa Hub visit www.berlinaleafricahub.com

SAT, 22 FEB Film & Tech: Does Africa Need a Silicon Valley?

SUN, 23 FEB Spotlight: Sudan’s Awakening as a Film Industry Contender

MON, 24 FEB Roadmaps: Forging New Synergies for Film Production with Foundations

TUE, 25 FEB The Role of TV for the African Continent and its Diasporas

Untitled-35 1 2/18/20 5:07 PM FACETIME

“H IS FOR Happiness” is the story Wang (“A First Farewell”). — school, the town and home — of a 12-year-old grammar-obsessed Sheedy is a well-respected and by adding a few laugh out loud schoolgirl who hitches up with an stage and opera director, who moments. “It is really important to eccentric boy who believes he may dipped his toe into filmmaking only celebrate difference and acknowl- be an alien. And despite not being once before, with “Mrs. McCutch- edge that not everything is going surrounded by the best examples eon,” a 2017 short film that focused to be OK, we can’t fix everything, — she is clumsily attempting to fix on a boy convinced that he was but you can still find ways to move her parents’ crumbling marriage — born in the wrong skin. After “Mrs. forward.” the two youngsters do their best to McCutcheon,” which played at 140 Casting the two child leads, show their enduring belief in com- festivals and won 44 prizes, pro- Daisy Axon and Wesley Patten was passion, hope and love. The whole ducer Julie Ryan brought “Happi- another “huge process.” Sheedy thing is set in Albany, an isolated ness” to Sheedy. leaned on casting director Jane and out-of-time town that is small Sheedy says that film has Norris, as well as his own youth even by Australian standards, and become his current focus and that theater experience. “Especially which is populated by other bor- he is attached to several as yet with children, you look for that spe- derline weirdos. unannounced projects. cial light. (Axon) had it the moment John Sheedy The recipe — borrowed from “I had a lot of experience with she walked through the door,” says Barry Jonsberg’s celebrated novel stories for young people, especially Sheedy. “My Life as an Alphabet” — has all stories with tricky things in them. He contrasts the two young- ‘It is really the ingredients for kitsch. But John I really loved the challenge of how sters. Sheedy describes Patten Sheedy’s “Happiness” sidesteps you make tough themes like grief (who also starred in “McCutch- most of the pitfalls, by telling his accessible to a young audience, eon”) as “the most charismatic story briskly and with empathy. The without watering them down,” says young actor I’ve ever, ever worked important film won the A$100,000 ($67,000) Sheedy. with … he works from his gut.” Of top prize at CinefestOZ in Sep- His task, explained in a 30-page Axon, he says: “works from her tember, and provides an uplifting pitch document, was “refining that head, she puts a lot of thought into to celebrate opener for the Berlin festival’s Gen- balance, and staying true to the everything.” Their unusual chemis- eration section — a festival sidebar more difficult emotional moments, try boils over in the showstopping that in previous years has brought while keeping it in a space accept- finale, which alone makes the film difference.’ to light Asian directing talent able to a young audience.” worth watching. Sheedy reports including Taika Waititi, Rima Das, Sheedy says he did that by cre- that the crew were in tears as they By Patrick Frater Bai Xue (“The Crossing”) and Lina ating three different visual worlds shot the scene.

Director John Sheedy with cinematographer Bonnie Elliott consult on the set of “H Is for Happiness.” DAVID DARE PARKER DARE DAVID

40 VARIETY WHITE RIOT Director: Rubika Shah Cast: "!2+!"/0Ǿ,$"/ 2!!)"Ǿ1"" Ǿ%")0%Ǿ1"")2)0"Ǿ,*, &+0,+

With Britain deeply divided over immigration, a motley crew of mavericks band together with The Clash and other top punk bands of the day to create Britain’s SCREENING TIMES: biggest-ever civil rights movement, Rock Against Racism (RAR). Feb 22 / 16:50 / CinemaxX 13 Feb 23 / 15:30 / Zoo Palast 1 (Fest) N O “Highly engaging and suddenly very relevant (...) The treasure trove of archive is Feb 24 / 9:30 / Parliament Studio TIO CT variously appalling and inspiring.” –Screen International Feb 25 / 20:00 / Cubix 8 (Fest) LE Feb 26 / 13:00 / Urania (Fest) Ȋ1%/&))&+$Ǿ&+ "+!&/6),,(1-2+(ȉ0&+Ɲ2"+ ",+-,)&1& 0ǽȋ –The Film Stage Mar 1 / 15:30 / FaF (Fest) FESTIVAL SE Director: Eric Steel (The Bridge, Kiss the Water) MINYAN Cast: *2") ǽ"3&+"Ǿ,+&#(&+ț)&0Ǿǽǽ,+Ɯ!"+1&)), Christopher McCann (Law and Order), Mark Margolis (Breaking Bad), Richard Topol (Lincoln), Brooke Bloom (Marriage Story) SCREENING TIMES: TODAY / 9:00 / CinemaxX 11 +ǖǞǝǕ0/,,()6+Ǿ200&+ "4&0%1""+$"/4/"01)"04&1%%&0&!"+1&16Ǿ#&1%Ǿ+! Feb 22 / 15:30 / Cubix 7 (Fest) sexuality, all of which seem irreconcilable until he befriends two closeted men in his Feb 23 / 22:00 / Cubix 5 (Fest) N grandfather’s senior housing complex. Feb 24 / 14:20 / CinemaxX 16 O TIO Feb 27 / 21:30 / CinemaxX 7 (Fest) CT LE Feb 28 / 16:15 / Zoo Palast 2 (Fest) Feb 29 / 22:00 / Cubix 7 (Fest) Mar 1 / 13:00 / Cubix 9 (Fest) FESTIVAL SE THE LAST SHIFT Director: Andrew Cohn (Medora) Exec. Producer: Alexander Payne Cast: Richard Jenkins (Academy Award Nominee, The Shape of Water, The Visitor)

1+)"6&0/"1&/&+$ƞ"/ǘǝ-/,2!6"/00#01Ȓ#,,!4,/("/Ǿ 214%"+%"ȉ010("! with training his replacement Jevon, an aspiring writer on probation, Stanley discovers uncomfortable truths about himself.

“Jenkins gives one of his most soulful performances in years.” –RogerEbert.com “Bittersweet. This ruthless tragicomedy of unexamined lives is so evocative of Alexander MARKET SCREENING: Payne’s work.” –Indiewire Feb 24 / 9:00 / CinemaxX 11

FEELS GOOD MAN Director: Arthur Jones SUMMER WHITE Director: Rodrigo Ruiz Patterson Cast: Matt Furie Cast:!/&ç+,00&Ǿ,-%&")"5+!"/Ȓ 17țThe Darkest Days of Us), Fabián Artist Matt Furie, creator of the Corres controversial comic character Pepe ǖǘȒ6"/Ȓ,)!,!/&$,ȉ0"+1&/"4,/)! the Frog, begins an uphill battle to revolves around his intimate reclaim his iconic cartoon image from relationship with his mother, but it all those who turned it into a symbol of begins to fall apart when she brings hate. home a new boyfriend.

“The most urgent and poignant political “Raw, honest, and original (...) doc of the year.” –Polygon MARKET SCREENINGS: Patterson’s debut erupts with a lush MARKET SCREENINGS: TODAY / 16:05 / CinemaxX 17 visual palette and a memorable TODAY / 19:05 / CinemaxX 11 " ǗǘȡǖǛǿǗǕȡ!ƛ 1")&"/12!&, ensemble.” –Variety Feb 22 / 10:00 / CinemaxX 9 DINNER IN AMERICA HEARTS AND BONES Director: Adam Carter Rehmeier (The Director: Ben Lawrence (Ghosthunter) Bunny Game) Cast: 2$,"3&+$țThe Matrix series, Cast: 6)" ))+"/țVeronica Mars), Emily The Lord of the Rings series) Skeggs (The Miseducation of Cameron Post) Dan, a renowned war photographer struggling with PTSD, forms an An on-the-lam punk rocker and a unexpected bond with Sebastian, a young woman obsessed with his band Sudanese refugee, until one of his embark on a series of misadventures photographs unearths a dark secret through the decaying suburbs of the from Sebastian’s past. American Midwest. “Poignant and morally complex.” MARKET SCREENINGS: “A rambunctious mix of anarchic humor –Screen International TODAY / 13:10 / Parliament Studio +!*&0Ɯ1/,*+ "ǽȋ –Variety MARKET SCREENING: Feb 22 / 14:40 / CinemaxX 17 " ǗǘȡǖǖǿǘǕȡ!ƛ Ȓ&+,

PRESIDENT: SALES: ACQUISITIONS: FESTIVALS: EFM Booth: Ryan Kampe Lydia Rodman *"0& (Ɯ")! Tarek Shoukri /,-&202ȱǖǘ /(ȯ3&0&1Ɯ)*0ǽ ,* )0/ȯ3&0&1Ɯ)*0ǽ ,* '()ȯ3&0&1Ɯ)*0ǽ ,* 10ȯ3&0&1Ɯ)*0ǽ ,* 444ǽ3&0&1Ɯ)*0ǽ ,* ʭǖǛǙǛǚǙǝǙǜǕǕ ʭǖǛǖǜǝǘǚǛǘǕǜ ʭǖǝǚǛǝǕǚǙǗǖǗ ʭǖǝǛǕǜǙǝǜǚǝǝ &+#,ȯ3&0&1Ɯ)*0ǽ ,*

Untitled-16 1 2/18/20 12:02 PM SIDSE BABETT SANDRA GULDBERG ELLIOTT CROSSET KNUDSEN KAMPP HOVE

BESIR JOACHIM ZECIRI FJELSTRUP

FAMILY COMES FIRST

SNOWGLOBE PRESENTS WILDLAND

A FILM BY JEANETTE NORDAHL

SCREENING DATES INTERNATIONAL SALES BAC Films BAC Films – MGB#110 )ULFeb 21 – 9 am Sat Feb 22²SP 0RQFeb 24²SP VDOHV#EDFÀOPVIU &LQHPD[;Press Screening &XEL[ Colosseum 1 PRESS )ULFeb 21²SP 6XQFeb 23 – 9 am 6XQMarch 1²SP NOISE Film PR Zoo Palast 1 World Premiere &LQHPD[; Zoo Palast 1 RIÀFH#QRLVHÀOPSUFRP

PRODUCTION

Snowglobe LQIR#VQRZJOREHÀOPFRP

Untitled-3 1 2/19/20 12:27 PM

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