Berlin 2011

[Chambord]

Selectia de anul asta e slabuta (nimic nou pe cerul Berlinului de la o vreme) dar sunt 3 filme pe care le astept cu interes sporit :

The Turin Horse de Béla Tarr - dupa spusele regizorului ar fi ultimul lui film (o veste catastrofala pt ca tipul e really great)

Coriolanus de Ralph Fiennes

The Future de Miranda July (i loved Me and you and ...)

[omudindulap]

Suntem si noi p-acolo, din pacate doar prin doua scurtmetraje, 15 iulie , de Cristi Iftime, şi coproducţia germano-română Apele tac, semnată de Anca Miruna Lăzărescu.
Primul film are ca tema lipsa de comunicare dintre un tata (Adrian Titieni) si fiica sa (Lorena Zăbrăuţanu) si problemele ivite din cauza diferentei de varsta. Pare a fi despre deja cliseicul conflict dintre generatii.

Cel de-al doilea, Apele tac, aduce in prin plan povestea a doi tineri care vor sa fuga din Romania comunista, traversand Dunarea.
Sa le tinem pumnii alor nostri!

[Chambord]

Vad ca ai facut defilarea de 23 August chiar in capitala inamicului Way to go soldier !

----
Daca tot ce as fi stiut de Turin Horse ar fi fost poza asta si tot as fi vrut sa-l vad neaparat. Breathes Tarkovski.

[omudindulap]

Vad ca ai facut defilarea de 23 August chiar in capitala inamicului Way to go soldier !

Not my picture. Guess Who.

[rvn]

Not my picture. Gues Who.

chamb,
am vazut ca-ti place chimayul.
data viitoare cand mai ajung p-acolo,poate o sa gust una, sa vad cum e.
gata off-ul.scuze.
revenim la BERLIN.

[Chambord]

da frate e belgiana, rvn a vazut-o in berlin, eu am baut-o in franta, era vorba de niste poze de-ale lui rvn, ce te ofuschezi asa , etc.

@rvn: mi-am adus aminte de poza aia

[Disciple]

Ma bucur pentru "15 iulie" si ii tin partea pentru ca e scris de o colega de la mine din grupa. Doar 2? Prea putin!

[Liviu-]

Eu ii tin partea lui Chan-wook Park

[buticut]

Se pare ca debutul lui Ralph Fiennes ca regizor a fost bine primit la Berlinale .

The cavernous Berlinale Palast theatre was packed to the gills for today’s noontime press screening of “Coriolanus” (***), and small wonder — in a Competition lineup heavy on oatmeal fare boasting comparatively unfamiliar names, Ralph Fiennes’s directorial debut is one of the few entries that affords viewers a little star-gazing.Fiennes, of course, takes the title role in his revisionist take on Shakespeare’s under-filmed tragedy, with Gerard Butler, Brian Cox and the soon-to-be-ubiquitous Jessica Chastain adding further name appeal.As the crowd staggered out of the auditorium two hours later, the name being murmured most approvingly was that of the film’s oldest and most distinguished star. And with good reason. As Volumnia, the proud, politically-minded mother of the titular Roman general, Vanessa Redgrave gives one of “those” performances, an Olympian masterclass in classical acting that conjures spontaneous emotional fire upon a bed of immaculate technique.Just listening to the richly controlled tremors and modulations in her voice as she powers her way through a titanic final monologue — turning her son’s political persuasions through reams of exquisite language — is enough to raise hairs on the back of your hands; all too rare are the opportunities to watch our greatest actors wrestle such material on screen.Indeed, in recent years, Redgrave has reserved her most committed thespian efforts for the stage: as valued a supporting presence as she has been in film projects ranging from “Atonement” to “Letters to Juliet,” it’s safe to say she hasn’t had a big-screen showcase this generous since “Howards End” nearly 20 years ago, and still, her work here outstrips that for difficulty and magnitude.Berlin isn’t usually the festival for such pronouncements (nor are such predictions ever wise, least of all in the dark days of February) but I’m going to make one anyway: Vanessa Redgrave will receive a 2011 Oscar nomination for Best Supporting Actress. If the performance itself weren’t enough to set a campaign in motion, the fact that “Coriolanus” has just been acquired by The Weinstein Company certainly is.If everything in Fiennes’s film was quite as staggering as Redgrave, we’d be looking at a Shakespeare adaptation for the ages. In case that star rating at the top of this piece didn’t tip you off, it’s not. Vastly shorn of text, but tidily updated by screenwriter John Logan to a modern-day military setting that fuses Roman geography with British cultural reference points — in a delightful touch, BBC newsreader Jon Snow turns up as an iambic pentameter-spouting version of himself — “Coriolanus” runs hot, cold and very, very loud for much of its running time, until both Fiennes’s conceptual ideas and the actors’ energies peak in time for a knockout final act.Fiennes’s aggressive militarization of the material extends to hiring the great DP Barry Ackroyd, fresh from lensing combat films for Kathryn Bigelow and Paul Greengrass, to lend the film a vérité texture that, ironically enough, comes over a little dated; on another note, it’s hard to gauge how aware Fiennes’s is of tonal resemblances between his treatment and Richard Loncraine’s Third Reich-flavored “Richard III.” If the film is perhaps less radical than its makers imagine, however, its considerable achievement is that the update works, making contemporary political sense even within its ambiguous milieu.Surprisingly, Fiennes’s performance turns out to be a less reliable asset than his direction. With his capacity for calculating impenetrability, the actor was born to play this most unreachable of Shakespearean anti-heroes, but for every icily authoritative note he strikes, there’s one of thin, ill-judged shoutiness that overeggs the fury in the Bard’s words. Still, if Fiennes the director hasn’t yet found a way to manage and discipline Fiennes the actor, he draws impressive work from the likes of Butler and Cox — while Redgrave’s majestic, film-elevating turn says much for his ability to capture lightning in a bottle. Academy voters, I know you’re busy with other matters right now, but take note.
<b>
Guy Lodge</b>

[omudindulap]

Ursul de Aur pentru cel mai bun film - "Jodaeiye Nader az Simin/ Nader And Simin, A Separation" de Asghar Farhadi

Ursul de Argint - Marele Premiu al juriului - "A Torinói Ló/ The Turin Horse" de Béla Tarr

Ursul de Argint pentru cel mai bun regizor - Ulrich Köhler pentru "Schlafkrankheit/ Sleeping Sickness"

Ursul de Argint pentru cea mai bună actriţă - distribuţia feminină din filmul "Nader And Simin, A Separation" - Farhadi Sarina, Bayat Sareh, Hatami Leila

Ursul de Argint pentru cel mai bun actor - distribuţia masculină din filmul "Nader And Simin, A Separation" - Babak Karimi, Ali-Ashghar Shahbazi, Peyman Moaadi şi Shahab Hosseini

Ursul de Argint pentru cel mai bun scenariu - Joshua Marston şi Andamion Murataj pentru "The Forgiveness Of Blood" de Joshua Marston

Premiul "Alfred Bauer": "Wer wenn nicht wir/ If Not Us, Who" de Andres Veiel

Ursul de Aur pentru cel mai bun scurtmetraj - "Paranmanjang/ Night Fishing" de PARKing CHANce (PARK Chan-wook, PARK Chan-kyong)

Ursul de Argint pentru cel mai bun scurtmetraj - "Pu-Seo-Jin Bam/ Broken Night" de Yang Hyo-joo

Ursul de Argint pentru realizări artistice deosebite - Wojciech Staron şi Barbara Enriquez pentru "El Premio/ The Prize" de Paula Markovitch

Premiul pentru cel mai bun lungmetraj de debut - "On the Ice" de Andrew Okpeaha MacLean

Premiul Guild of German Art House Cinemas - "Wer wenn nicht wir/ If Not Us, Who" de Andres Veiel

Premiul juriului ecumenic pentru cel mai bun film din competiţie - "Nader And Simin, A Separation" de Asghar Farhadi

Premiul juriului ecumenic pentru cel mai bun film din secţiunea Panorama - "Lo Roim Alaich/ Invisible" de Michal Aviad

Premiul juriului ecumenic pentru cel mai bun film din secţiunea Forum - "En terrains connus/ Familiar Grounds" de Stéphane Lafleur

Premiul FIPRESCI pentru cel mai bun film din competiţie - "A torinói ló/ The Turin Horse" de Béla Tarr

Premiul FIPRESCI pentru cel mai bun film din Panorama - "Dernier étage gauche gauche/ Top Floor Left Wing" de Angelo Cianci

Premiul FIPRESCI pentru cel mai bun film din Forum - "Heaven's Story" de Zeze Takahisa

Premiul C.I.C.A.E. pentru cel mai bun film din Panorama - "Here" de Braden King

Premiul C.I.C.A.E. pentru cel mai bun film din Forum - "Amnistia/ Amnesty" de Bujar Alimani

Caligari Film Prize - "The Ballad of Genesis and Lady Jaye" de Marie Losier

NETPAC Prize - "Heaven's Story" de Zeze Takahisa

Peace Film Award - "Jutro bedzie lepiej/ Tomorrow will be better" de Dorota Kedzierzawska

Amnesty International Film Prize - "Barzakh" de Mantas Kvedaravicius

Trofeul Berlin Today Award al secţiunii Berlinale Talent Campus pentru scurtmetraj - "Hackney Lullabies" de Kyoko Miyake

Premiul serviciului german de schimb academic (DAAD) pentru scurtmetraj: "La Ducha/ The Shower" de Maria José San Mart�*n

Premiul EFA Nominee Berlin pentru cel mai bun scurtmetraj european: "Återfödelsen/ The Unliving" de Hugo Lilja

Premiul European Cinema Label pentru cel mai bun lungmetraj în secţiunea Panorama - "Über uns das All/ Above Us Only Sky" de Jan Schomburg

Ursul de Aur onorific: Armin Mueller-Stahl (actor)

Berlinale Camera: Lia van Leer, Jérôme Clément, Franz şi Rosemarie Stadler şi Harry Belafonte

[Liviu-]

Ursul de Aur pentru cel mai bun scurtmetraj - "Paranmanjang/ Night Fishing" de PARKing CHANce (PARK Chan-wook, PARK Chan-kyong)

Abia astept sa vad si filmul iranian plus cel al lui Bela Tarr. Din pacate, muritor de rand fiind, o sa mai astept pe putin jumatate de an.

[Chambord]

Ce e interesant la palmaresul din acest an (si foarte rar in ultimii ani la un festival din Top 3) e cat de bine s-au suprapus gusturile juriului cu cele ale criticilor. Screen International, de ex, a asamblat ca in fiecare an, un juriu propriu, format din critici respectati prezenti la festival. Pe primele 2 locuri in topul mediilor notelor acordate de criticii respectivi s-au situat Nader and Simin si Turin Horse cu 3.6 / 4 (o medie pe care rar o prind chiar si filmele din Competitia Cannes-ului). Pareri dublate si de restul presei.

Cat despre Coriolanus, opinia lui Guy Lodge nu au impartit-o foarte multi. 2 din criticii mei preferati, Nick James de la Sight&Sound si Scott Foundas de la Film Comment i-au dat 1 / 4 (slab). Si, sincer, ma astept la niste pretiozitati majore in filmul asta dar tot vreau sa-l vad.

Overall, dupa acest Berlin raman cu 7 filme pe care vreau neaparat sa le vad, in ordinea prioritatii:

The Turin Horse (Béla Tarr)
Nader and Simin, A Separation (Asghar Farhadi)
Pina (Wim Wenders)
The Future (Miranda July)
The Forgiveness Of Blood (Joshua Marston)
Sleeping Sickness (Ulrich Kohler)
Coriolanus (Ralph Fiennes)

[ricutza]

Coriolanus nu mi-a placut nici mie. Mi-a parut foarte rau de actori, dar combinatia teatru-film propusa de Fiennes, nu e ce trebuie.

Pina mi s-a parut o experienta superba care muta 3d-ul intr-o alta dimensiune artistica.
Sleeping Sickenss are un final ratat din punctul meu de vedere, ceea ce e trist pentru ca filmul era destul de misto.
De de arte insa descoperirea mea preferata de la Berlin a fost Margin Call. De mult n-am mai vazut un film in care sa simt ca actorii se bucura atat de tare unul de prezenta altuia.

[Chambord]

ricutza, work or pleasure ? (motivul pt care ai fost la Festivalul de la Berlin)
nu ti-a pasat si de noi, sa ne mai fi dat un briefing din cand in cand
mai ales ca StefanDo a lipsit, dupa multi ani.

[ricutza]

ricutza, work or pleasure ? (motivul pt care ai fost la Festivalul de la Berlin)
nu ti-a pasat si de noi, sa ne mai fi dat un briefing din cand in cand
mai ales ca StefanDo a lipsit, dupa multi ani.

work Chambord si sunt inca super in urma cu toate reviewurile pe care trebuie sa le scriu (din fericire insa le pot posta si post festival). Dar cum termin incerc sa postez si aici doua trei vorbe despre filmele care mi-au placut.

[varu]

Vad ca The Turin Horse (Béla Tarr) va fi proiectat la TIFF la "Ziua maghiara"

http://www.tiff.ro/filme