From First Cow to Berlin Alexanderplatz, this year’s Berlinale offered hope for greater racial harmony and inclusivity By Sadia Khalid
on March 4, 2020 11:58
On Raúl Ruiz & Valeria Sarmiento’s The Tango of the Widower and its Distorting Mirror and Matías Piñeiro’s Isabella by Rodrigo Garay
on March 4, 2020 11:54
Conversation around discourse and dialogue in Chinese cinema have featured prominently at this year’s Berlinale By Maja Korbecka
on March 4, 2020 11:53
Three Berlinale documentaries from the Arab world serve as powerful examples of collaborative filmmaking By Lili Hering
on March 4, 2020 11:48
What happens when - if only a flickering moment - you close your eyes and listen to the sounds echoing at the Berlinale? by: Jakob Åsell
on March 4, 2020 11:35
Reporting from Berlin, Savina Petkova and Debbie Zhou share their thoughts on Christian Petzold’s Competition entry, Undine by Savina Petkova & Debbie Zhou
on February 27, 2020 13:45
Writing to each other from the 70th Berlinale, Lili Hering and Sadia Khalid weigh in on some of the fest’s most singular entries By Lili Hering, Sadia Khalid
on February 27, 2020 13:33
The world of First Cow is one of enmeshed existences, where solidarity to the other, human or nonhuman, is the key virtue By Savina Petkova
on February 27, 2020 13:20
Jonas Heldt’s AUTOMOTIVE touches on the notion of desire fading away, yielding to functionality and utilitarianism br> By Rodrigo Garay
on February 27, 2020 13:17
In Melanie Waelde’s Nackte Tiere, a group of teens inhabits a world where adults are evanescent presences. by Lili Hering
on February 27, 2020 13:14
An affecting if somewhat safe family drama, Mogul Mowgli prods into the deeper, darker realms of a traditional father-son relationship By Debbie Zhou
on February 27, 2020 13:10
The Living and the Dead Ensemble’s Ouvertures advocates for a collective storytelling that transcends and transforms time and spaceby Savina Petkova
on February 25, 2020 17:14
by Lili Hering
on February 25, 2020 16:48
by Rodrigo Garay
on February 25, 2020 16:46
by Jakob Åsell
on February 25, 2020 16:43
by Maja Korbecka
on February 25, 2020 16:38
By Rachel Morais
on January 13, 2020 10:33
By Adriano Garrett
on January 13, 2020 10:28
By Taiani Mendes
on January 13, 2020 10:21
by Raquel Morais
on December 16, 2019 18:37
on December 16, 2019 18:35
By Chissana Magalhães
on December 16, 2019 18:30
by Kayode Faniyi
on August 6, 2019 15:53
on August 6, 2019 15:43
by Jeoffrey Mukubi and Nkululeko Zilibokwe
on August 6, 2019 15:30
By Armando Quesada Webb
on April 11, 2019 12:12
By Denise Roldán
on April 11, 2019 11:58
By Wilfred Okiche
on February 19, 2019 14:29
By Poulomi Das
on February 19, 2019 14:27
By Leonardo Goi
on February 19, 2019 14:26
By Devika Girish
on February 19, 2019 14:24
By Andrea Guzmán
on February 19, 2019 14:18
By Victor Guimarães
on February 13, 2019 17:46
By Narjes Torchani
on February 13, 2019 17:45
By Hugo Emmerzael
on February 13, 2019 17:42
on February 13, 2019 17:41
on February 11, 2019 14:49
on February 11, 2019 14:45
on February 11, 2019 14:41
on February 11, 2019 14:21
on February 4, 2019 19:09
on February 4, 2019 19:06
on February 4, 2019 19:05
on February 4, 2019 19:00
Two films about automobile manufacturing at this year’s Berlinale track the emergence of neoliberalism past to present By Adina Glickstein
on March 4, 2020 11:29
Half way through the fest, Maja Korbecka and Jakob Åsell write to each other about some of the most intriguing films they’ve seen By Maja Korbecka and Jakob Åsell
on February 27, 2020 13:37
Corresponding from the 70th Berlinale, Adina Glickstein and Rodrigo Garay reflect on Eldridge Cleaver, Black Panther and Orphea By Adina Glickstein & Rodrigo Garay
on February 27, 2020 13:25
Steering away from racial stereotypes, First Cow conjures a witty and affecting portrait of an unlikely friendship By Sadia Khalid
on February 27, 2020 13:19
Jia Zhangke’s latest offers a deep dive into personal memories within the tissue of state-sanctioned fiction. By Maja Korbecka
on February 27, 2020 13:16
A kaleidoscopic collage of various video formats, Always Amber beats in synch with the restless hearts of its teenage protagonists. By Jakob Åsell
on February 27, 2020 13:12
Expansive beyond its 90-minute runtime, Song Fang’s The Calming highlights the rarity of drawn-out depictions of feminine anhedoniaby Adina Glickstein
on February 25, 2020 17:18
A haunting, multi-sensorial experience, Ouvertures questions the (f)utility of language to dissect history and colonial heritageby Adina Glickstein
on February 25, 2020 17:04
by Sadia Khalid
on February 25, 2020 16:47
by Debbie Zhou
on February 25, 2020 16:44
by Savina Petkova
on February 25, 2020 16:42
by Adina Glickstein
on February 25, 2020 16:33
By Bruno Galindo
on January 13, 2020 10:31
By Lorenna Rocha
on January 13, 2020 10:24
by Adriano Garrett
on December 16, 2019 18:38
on December 16, 2019 18:33
by Nkululeko Zilibokwe
on August 6, 2019 15:55
on August 6, 2019 15:50
on August 6, 2019 15:36
on April 11, 2019 12:13
on April 11, 2019 12:10
on April 11, 2019 11:55
on February 19, 2019 14:28
on February 19, 2019 14:25
on February 19, 2019 14:19
on February 13, 2019 17:44
by Wilfred Okiche
on February 11, 2019 14:52
on February 11, 2019 14:46
on February 11, 2019 14:42
on February 11, 2019 14:36
on February 4, 2019 19:08
on February 4, 2019 19:04
