Kleber Mendonca Filho’s film bows third on the list, behind Paterson and table-topper Toni Erdmann.
Kleber Mendonca Filho’s Brazil-France drama Aquarius posted a strong 3.1 rating on Screen’s Cannes Jury Grid as the festival entered its second half.
Receiving two maximum four-star ratings, from Italy Fabio Ferzetti and the UK’s Tim Robey and Robbie Collin, the film’s score places it third on the overall list, behind only Jim Jarmusch’s Adam Driver-starring Paterson and Maren Ade’s record-breaking Toni Erdmann.
Click here for Screen’s Cannes Competition blog
There were two other debutants today, Pedro Almodovar’s Julieta and Olivier Assayas’s Personal Shopper.
Julieta received middling scores, averaging 2.4, placing it mid-pack and level with Ken Loach’s I, Daniel Blake and Andrea Arnold’s American Honey.
Personal Shopper proved more divisive, averaging 2.3 but attracting a maximum four-star rating from the Us’s Stephanie Zacharek alongside two X (no star) ratings from Germany...
Kleber Mendonca Filho’s Brazil-France drama Aquarius posted a strong 3.1 rating on Screen’s Cannes Jury Grid as the festival entered its second half.
Receiving two maximum four-star ratings, from Italy Fabio Ferzetti and the UK’s Tim Robey and Robbie Collin, the film’s score places it third on the overall list, behind only Jim Jarmusch’s Adam Driver-starring Paterson and Maren Ade’s record-breaking Toni Erdmann.
Click here for Screen’s Cannes Competition blog
There were two other debutants today, Pedro Almodovar’s Julieta and Olivier Assayas’s Personal Shopper.
Julieta received middling scores, averaging 2.4, placing it mid-pack and level with Ken Loach’s I, Daniel Blake and Andrea Arnold’s American Honey.
Personal Shopper proved more divisive, averaging 2.3 but attracting a maximum four-star rating from the Us’s Stephanie Zacharek alongside two X (no star) ratings from Germany...
- 5/18/2016
- ScreenDaily
Neither Soy Nero [pictured] nor Genius significantly impressed critics, with Gianfranco Rosi’s migrant crisis documentary still comfortably top of the chart.
Gianfranco Rosi’s Fire At Sea continues to reign atop the 2016 Screen Berlin Jury Grid, comfortably seeing off the challenges of new entries Soy Nero and Genius.
Rafi Pitts’ drama Soy Nero [pictured] impressed Tim Robey, who awarded it three-stars, but failed to strike a chord with Nicholas Weno or Daniel Klasman, who both gave it a solitary star.
Overall, the film averaged a 1.9 rating, placing it second-bottom, only above Alone In Berlin.
Michael Grandage’s biographical drama about book editor Max Perkins, Genius, tied with Soy Nero, scoring a 1.9 with Screen’s jury.
Nicholas Weno, Tim Robey, David Fear and Screen’s critic all awarded the film one-star, but Jan Schulz-Ojala bucked the trend with a four-star rating. One score is yet to be submitted.
Still sitting pretty is migrant crisis documentary Fire At Sea...
Gianfranco Rosi’s Fire At Sea continues to reign atop the 2016 Screen Berlin Jury Grid, comfortably seeing off the challenges of new entries Soy Nero and Genius.
Rafi Pitts’ drama Soy Nero [pictured] impressed Tim Robey, who awarded it three-stars, but failed to strike a chord with Nicholas Weno or Daniel Klasman, who both gave it a solitary star.
Overall, the film averaged a 1.9 rating, placing it second-bottom, only above Alone In Berlin.
Michael Grandage’s biographical drama about book editor Max Perkins, Genius, tied with Soy Nero, scoring a 1.9 with Screen’s jury.
Nicholas Weno, Tim Robey, David Fear and Screen’s critic all awarded the film one-star, but Jan Schulz-Ojala bucked the trend with a four-star rating. One score is yet to be submitted.
Still sitting pretty is migrant crisis documentary Fire At Sea...
- 2/17/2016
- ScreenDaily
Neither Soy Nero nor Genius significantly impressed critics, with Gianfranco Rosi’s migrant crisis documentary still comfortably top of the chart.
Gianfranco Rosi’s Fire At Sea continues to reign atop the 2016 Screen Berlin Jury Grid, comfortably seeing off the challenges of new entries Soy Nero and Genius.
Rafi Pitts’ drama Soy Nero [pictured] impressed Tim Robey, who awarded it three-stars, but failed to strike a chord with Nicholas Weno or Daniel Klasman, who both gave it a solitary star.
Overall, the film averaged a 1.9 rating, placing it second-bottom, only above Alone In Berlin.
Michael Grandage’s biographical drama about book editor Max Perkins, Genius, tied with Soy Nero, scoring a 1.9 with Screen’s jury.
Nicholas Weno, Tim Robey, David Fear and Screen’s critic all awarded the film one-star, but Jan Schulz-Ojala bucked the trend with a four-star rating. One score is yet to be submitted.
Still sitting pretty is migrant crisis documentary Fire At Sea...
Gianfranco Rosi’s Fire At Sea continues to reign atop the 2016 Screen Berlin Jury Grid, comfortably seeing off the challenges of new entries Soy Nero and Genius.
Rafi Pitts’ drama Soy Nero [pictured] impressed Tim Robey, who awarded it three-stars, but failed to strike a chord with Nicholas Weno or Daniel Klasman, who both gave it a solitary star.
Overall, the film averaged a 1.9 rating, placing it second-bottom, only above Alone In Berlin.
Michael Grandage’s biographical drama about book editor Max Perkins, Genius, tied with Soy Nero, scoring a 1.9 with Screen’s jury.
Nicholas Weno, Tim Robey, David Fear and Screen’s critic all awarded the film one-star, but Jan Schulz-Ojala bucked the trend with a four-star rating. One score is yet to be submitted.
Still sitting pretty is migrant crisis documentary Fire At Sea...
- 2/17/2016
- ScreenDaily
Fire At Sea comfortably remained top of the pile, with the new entries failing to post significant scores.
Sunday’s three new entries on the 2016 Berlinale Screen Jury Grid all proved divisive, picking up mixed scores across the board.
Andre Techine’s Being 17 scored the first X (no score) of the festival, from Anton Dolin, though also clocked up a top-rating courtesy of David Fear. Overall it rated 2.5, though there are two scores yet to be declared.
Ivo Ferreira’s Letters From War posted a slightly better 2.6 overall, including two top ratings from Jan Schulz-Ojala and Screen.
Anne Zohra Berrached’s 24 Weeks languished to a rating of 2.3, the second lowest score to date behind Denis Cote’s Boris Without Beatrice.
Still topping the table is Gianfranco Rosi’ documentary Fire At Sea.
Monday’s titles are Denis Tanovic’s Death In Sarajevo, Vincent Perez’s Alone In Berlin and Yang Chao’s Crosscurrent.
Sunday’s three new entries on the 2016 Berlinale Screen Jury Grid all proved divisive, picking up mixed scores across the board.
Andre Techine’s Being 17 scored the first X (no score) of the festival, from Anton Dolin, though also clocked up a top-rating courtesy of David Fear. Overall it rated 2.5, though there are two scores yet to be declared.
Ivo Ferreira’s Letters From War posted a slightly better 2.6 overall, including two top ratings from Jan Schulz-Ojala and Screen.
Anne Zohra Berrached’s 24 Weeks languished to a rating of 2.3, the second lowest score to date behind Denis Cote’s Boris Without Beatrice.
Still topping the table is Gianfranco Rosi’ documentary Fire At Sea.
Monday’s titles are Denis Tanovic’s Death In Sarajevo, Vincent Perez’s Alone In Berlin and Yang Chao’s Crosscurrent.
- 2/15/2016
- ScreenDaily
The first scores are in, and it’s Gianfranco Rosi’s documentary about the immigration crisis that leads.
Gianfranco Rosi’s Fire At Sea - his documentary about the migrant crisis set on the Mediterranean island of Lampedusa - is the early frontrunner on this year’s Berlinale Jury Grid, comrpised of scores from Screen’s jury of international critics.
The jury awarded it a combined score of 3.3 from a possible 4, a total only beaten at last year’s Berlinale by Andrew Haigh’s 45 Years and matched by Patricio Guzman’s The Pearl Button.
Five of the critics awarded Fire At Sea the maximum four-star rating, while Jan Schulz-Ojala bucked the trend by awarding the film a solitary star.
Screen’s review described the film as “shocking and intensely human”.
Elsewhere on the grid, there is currently a three-way tie for second place between Mohamed Ben Attia’s Hedi, Jeff Nichols’ [link...
Gianfranco Rosi’s Fire At Sea - his documentary about the migrant crisis set on the Mediterranean island of Lampedusa - is the early frontrunner on this year’s Berlinale Jury Grid, comrpised of scores from Screen’s jury of international critics.
The jury awarded it a combined score of 3.3 from a possible 4, a total only beaten at last year’s Berlinale by Andrew Haigh’s 45 Years and matched by Patricio Guzman’s The Pearl Button.
Five of the critics awarded Fire At Sea the maximum four-star rating, while Jan Schulz-Ojala bucked the trend by awarding the film a solitary star.
Screen’s review described the film as “shocking and intensely human”.
Elsewhere on the grid, there is currently a three-way tie for second place between Mohamed Ben Attia’s Hedi, Jeff Nichols’ [link...
- 2/14/2016
- ScreenDaily
Screen International’s legendary Cannes Palme D’Or jury swings back into action today, as the 68th festival gets into full swing and the first two films have played out at the Palais Des Festivals.
New jury members this year include Julien Gester and Didier Peron from French powerhouse daily Liberation; Il Messaggero’s Fabio Ferzetti in Italy; Australian critic Paul Byrnes from The Age/Sydney Morning Herald; and Thailand, where the Bangkok Post’s Kong Rithdee will weigh in with his daily verdicts.
They join Kate Muir and Wendy Ide from The Times, London, Nick James from Sight and Sound, stalwart jury member Michel Ciment, of Positif, and Jan Schulz-Ojala of Der Tagesspiegel, Germany.
Their first two sets of scores are from Hirokazu Kore-eda’s Our Little Sister, and Matteo Garrone’s Tale of Tales, and the overall impression is… mixed.
Kore-eda wowed two critics with four palmes each, leaving most others...
New jury members this year include Julien Gester and Didier Peron from French powerhouse daily Liberation; Il Messaggero’s Fabio Ferzetti in Italy; Australian critic Paul Byrnes from The Age/Sydney Morning Herald; and Thailand, where the Bangkok Post’s Kong Rithdee will weigh in with his daily verdicts.
They join Kate Muir and Wendy Ide from The Times, London, Nick James from Sight and Sound, stalwart jury member Michel Ciment, of Positif, and Jan Schulz-Ojala of Der Tagesspiegel, Germany.
Their first two sets of scores are from Hirokazu Kore-eda’s Our Little Sister, and Matteo Garrone’s Tale of Tales, and the overall impression is… mixed.
Kore-eda wowed two critics with four palmes each, leaving most others...
- 5/15/2015
- by halliganfinn@gmail.com (Fionnuala Halligan)
- ScreenDaily
Critics rank Andrew Haigh’s double Silver Bear winner the best film in competition at the Berlinale.Click here to download the Jury GridClick here to view the Jury Grid on Screen
Andrew Haigh’s 45 Years has topped the Screen Jury Grid at this year’s Berlin Film Festival (Feb 5-15), scoring 3.4 out of a possible 4.
The film, which explores the strain placed on an old married couple, saw co-stars Tom Courtenay and Charlotte Rampling pick up Silver Bear’s for best actor and best actress at the Berlinale awards ceremony on Saturday.
On the Jury Grid, 45 Years secured a rare ‘four star’ score from Screen’s hard to please critic Dan Fainaru.
It also saw off competition from the 18 other contenders scored by international critics for Screen.
Taxi, by dissident Iranian director Jafar Panahi, picked up the Golden Bear on Saturday and was ranked joint third on the grid with a score of 3.1, alongside Jayro Bustamante’s [link...
Andrew Haigh’s 45 Years has topped the Screen Jury Grid at this year’s Berlin Film Festival (Feb 5-15), scoring 3.4 out of a possible 4.
The film, which explores the strain placed on an old married couple, saw co-stars Tom Courtenay and Charlotte Rampling pick up Silver Bear’s for best actor and best actress at the Berlinale awards ceremony on Saturday.
On the Jury Grid, 45 Years secured a rare ‘four star’ score from Screen’s hard to please critic Dan Fainaru.
It also saw off competition from the 18 other contenders scored by international critics for Screen.
Taxi, by dissident Iranian director Jafar Panahi, picked up the Golden Bear on Saturday and was ranked joint third on the grid with a score of 3.1, alongside Jayro Bustamante’s [link...
- 2/16/2015
- ScreenDaily
New Riga Meetings platform welcomes projects including two projects by Finnish film-maker Aku Louhimies.
Janis Nords’ second feature Mother I Love You and Juris Kursietis’ debut Modris were the big winners at the ¨Great Christopher¨ (¨Lielais Kristaps¨) National Film Competition held during the first edition of the Riga International Film Festival (December 2-12).
Nords, who graduated in film directing from the UK’s Nfts, received the top honour of best film as well as the trophy for best feature film director and best actress (for Vita Varpina’s performance as the single mother trying to make ends meet).
On presenting the direction prize to Nords, the competition jury’s chairman, veteran film director Janis Streics, said that he saw “a bright future ahead for Latvian cinema” on the strength of the line-up for this edition of the national film awards.
Mother I Love You, which is handled internationally by New Europe Film Sales, premiered at the...
Janis Nords’ second feature Mother I Love You and Juris Kursietis’ debut Modris were the big winners at the ¨Great Christopher¨ (¨Lielais Kristaps¨) National Film Competition held during the first edition of the Riga International Film Festival (December 2-12).
Nords, who graduated in film directing from the UK’s Nfts, received the top honour of best film as well as the trophy for best feature film director and best actress (for Vita Varpina’s performance as the single mother trying to make ends meet).
On presenting the direction prize to Nords, the competition jury’s chairman, veteran film director Janis Streics, said that he saw “a bright future ahead for Latvian cinema” on the strength of the line-up for this edition of the national film awards.
Mother I Love You, which is handled internationally by New Europe Film Sales, premiered at the...
- 12/12/2014
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
In 2009, the best film in Competition at the Berlinale was Maren Ade's Everyone Else (Fwiw, it came away with 1.5 Silver Bears, the 1 for Best Actress Birgit Minichmayr, the .5 for tying with Adrián Biniez's Gigante for the Jury Grand Prix; the Golden Bear that year went to Claudia Llosa's The Milk of Sorrow). Three years on (!), the trio that made Everyone Else worth talking up to this day (see, for example, Kevin B Lee's new video essay on a key scene at Fandor; see, too, Mike D'Angelo on the same scene a year ago at the Av Club) is back in Competition, albeit in three different films. Lars Eidinger has drawn the shortest straw, taking on the lead in Hans-Christian Schmid's rather dismal Home for the Weekend. Minichmayr's fared better opposite Jürgen Vogel in Matthias Glasner's new film, though I seriously doubt many of us will...
- 2/18/2012
- MUBI
I've placed this clip right at the top of this entry because it's taken from the first few minutes of Captive, just after armed terrorists have stormed what appears to be a small town or encampment on the beach somewhere out there in the Pacific, nabbed whoever's available and forced them at gunpoint onto boats waiting in the harbor. Because you know you're watching a film by Brillante Mendoza, you assume all this is taking place in the Philippines. Otherwise, unless you've Googled "Abu Sayyaf" and learned that it's "one of several military Islamist separatist groups based in and around the southern Philippines" or read the program notes ("The attack was intended to target employees of the World Bank, but they have already left the resort. The abductees are tourists and Christian missionaries who are now forced on a grueling foot march through the Philippine jungle"), you'll be disoriented as...
- 2/14/2012
- MUBI
Of all directors working in Germany today, Christian Petzold has the surest hand and, while, after just one viewing, it's too early to stake a claim for Barbara as his best film yet, it is, in many ways, a culmination of his stylistic progression towards a classic yet vividly contemporary cinematic language. Referencing influences in interviews — like many directors who can afford the time, Petzold likes to screen films for his cast in the weeks of rehearsal before shooting begins — he's been citing quite a few of late from both Golden Age and New Hollywood. The ghost of Marnie moves through Yella (2007) in the way a camera follows a woman up a set of stairs. Jerichow (2008) transposes The Postman Always Rings Twice from the oppressive shadows of film noir to a sun-drenched summer in present-day Germany. Of the three films that comprise Dreileben (2011), Petzold's Beats Being Dead is the one...
- 2/13/2012
- MUBI
The Hungarian premiere of Béla Tarr's The Turin Horse (review and roundup) in Budapest this coming Thursday was to have been a celebration. Just weeks ago, the film, which Tarr insists will be his last, won the Silver Bear at the Berlinale. The next day, Tarr gave an interview to the Berlin newspaper Der Tagesspiegel — which has directly led, as Jan Schulz-Ojala now reports, to the cancellation of the homecoming premiere and to Mokep, the film's distributor, canceling plans to open the film in theaters across the country.
- 3/8/2011
- MUBI
'The Man Beyond the Bridge' (Paltadacho Munis), the Konkan film that created a buzz at the Toronto International Film Festival (Tiff) here, has been given the Discovery award by film critics.The 96-minute film, which Goan filmmaker Laxmikant Shetgaonkar made with assistance from the National Film Development Corporation (Nfdc), was lauded by audiences for dealing with major dilemmas - faith, the environment and social taboos.On the closing day of the 10-day film festival, the International Federation of Film Critics (Fipresci) voted for it in the Discovery category.In a statement, the Toronto International Film Festival (Tiff) said, 'The Prize of the International Federation of Film Critics (Fipresci Prize) for Discovery is awarded to Laxmikant Shetgaonkar for 'The Man Beyond the Bridge.' 'Lauding the Konkani film, the statement said: 'Far from the sensory overload of India's big cities, this film explores smaller but enduring dilemmas, drawing together keen environmental...
- 9/19/2009
- Filmicafe
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