Only two titles can now top ‘Never Rarely Sometimes Always’.
Tsai Ming-liang’s Taiwanese title Days has performed strongly on Screen’s Berlin 2020 Competition jury grid, achieving a 3.3 average for second place with just two titles to go.
Days received three top scores of four (excellent), from Meduza’s Anton Dolin, The Morning Star’s Rita Di Santo and Screen’s own critic – the joint-most of any title this year with grid leader Never Rarely Sometimes Always.
It did not receive any negative marks, with only one two (average) from Dagens Nyheter’s Helena Lindblad.
The film centres on Kang and Non,...
Tsai Ming-liang’s Taiwanese title Days has performed strongly on Screen’s Berlin 2020 Competition jury grid, achieving a 3.3 average for second place with just two titles to go.
Days received three top scores of four (excellent), from Meduza’s Anton Dolin, The Morning Star’s Rita Di Santo and Screen’s own critic – the joint-most of any title this year with grid leader Never Rarely Sometimes Always.
It did not receive any negative marks, with only one two (average) from Dagens Nyheter’s Helena Lindblad.
The film centres on Kang and Non,...
- 2/28/2020
- by 1101321¦Ben Dalton¦26¦
- ScreenDaily
‘Never Rarely Sometimes Always’ still leads.
Burhan Qurbani’s Berlin Alexanderplatz and Sally Potter’s The Roads Not Taken scored low on Screen’s Berlin 2020 Competition jury grid, as controversial Russian title Dau. Natasha split opinion for a joint-third place spot.
Qurbani’s adaptation of Alfred Döblin’s 1929 novel scored three ones (poor) from Segnocinema’s Paolo Bertolin, Meduza’s Anton Dolin, and The Morning Star’s Rita Di Santo, as well as three twos (average), with only one positive score of three (good) from Dagens Nyheter’s Helena Lindblad. This brought it an average of 1.7, the fourth-lowest score on the grid.
Burhan Qurbani’s Berlin Alexanderplatz and Sally Potter’s The Roads Not Taken scored low on Screen’s Berlin 2020 Competition jury grid, as controversial Russian title Dau. Natasha split opinion for a joint-third place spot.
Qurbani’s adaptation of Alfred Döblin’s 1929 novel scored three ones (poor) from Segnocinema’s Paolo Bertolin, Meduza’s Anton Dolin, and The Morning Star’s Rita Di Santo, as well as three twos (average), with only one positive score of three (good) from Dagens Nyheter’s Helena Lindblad. This brought it an average of 1.7, the fourth-lowest score on the grid.
- 2/27/2020
- by 1101321¦Ben Dalton¦26¦
- ScreenDaily
Christian Petzold’s ‘Undine’ still leads.
Benoit Deléphine and Gustave Kervern’s social media drama Delete History has landed in joint-second place on Screen’s Berlin 2020 Competition jury grid, while both My Little Sister and Siberia struggled.
Delete History pulled in a 2.7 average from our seven critics, including fours (excellent) from Segnocinema’s Paolo Bertolin and The Morning Star’s Rita Di Santo, but also a one (poor) from Die Zeit’s Katja Nicodemus.
It follows three neighbours who team with a hacker to tap into the servers of their social media accounts and alter personally inconvenient data.
Stéphanie Chuat...
Benoit Deléphine and Gustave Kervern’s social media drama Delete History has landed in joint-second place on Screen’s Berlin 2020 Competition jury grid, while both My Little Sister and Siberia struggled.
Delete History pulled in a 2.7 average from our seven critics, including fours (excellent) from Segnocinema’s Paolo Bertolin and The Morning Star’s Rita Di Santo, but also a one (poor) from Die Zeit’s Katja Nicodemus.
It follows three neighbours who team with a hacker to tap into the servers of their social media accounts and alter personally inconvenient data.
Stéphanie Chuat...
- 2/25/2020
- by 1101321¦Ben Dalton¦26¦
- ScreenDaily
‘All The Dead Ones’ lands mid-pack.
Christian Petzold’s Undine took the lead on Screen’s Competition jury grid on day three of the Berlinale, recording three top score fours (excellent).
Those top marks came from Helena Lindblad of Dagens Nyheter, Paolo Bertolin of Segnocinema, and Wang Muyan of The Paper. It also took three scores of three (good), with only a one (poor) from The Morning Star’s Rita Di Santo pulling its average down to 3.1.
Berlinale regular Petzold’s film sees him reunite Transit stars Paula Beer and Franz Rogowski for a modern-day retelling of a myth relating to the titular water nymph.
Christian Petzold’s Undine took the lead on Screen’s Competition jury grid on day three of the Berlinale, recording three top score fours (excellent).
Those top marks came from Helena Lindblad of Dagens Nyheter, Paolo Bertolin of Segnocinema, and Wang Muyan of The Paper. It also took three scores of three (good), with only a one (poor) from The Morning Star’s Rita Di Santo pulling its average down to 3.1.
Berlinale regular Petzold’s film sees him reunite Transit stars Paula Beer and Franz Rogowski for a modern-day retelling of a myth relating to the titular water nymph.
- 2/24/2020
- by 1101321¦Ben Dalton¦26¦
- ScreenDaily
Seven critics are participating in this year’s grid.
Screen has launched its jury grid for the Berlinale 2020 Competition films, with Natalia Meta’s The Intruder and Giorgio Diritti’s Hidden Away both marking average scores.
Participating critics on the grid for this year are:
Helena Lindblad, Dagens Nyheter, Sweden Anton Dolin, Meduza, Russia Katja Nicodemus, Die Zeit, Germany Wang Muyan, The Paper, China Rita Di Santo, The Morning Star, UK Paolo Bertolin, Segnocinema, Italy Screen’s own critic
As in previous years, each critic watches each Competition film and awards a star rating on the following scale: four (excellent...
Screen has launched its jury grid for the Berlinale 2020 Competition films, with Natalia Meta’s The Intruder and Giorgio Diritti’s Hidden Away both marking average scores.
Participating critics on the grid for this year are:
Helena Lindblad, Dagens Nyheter, Sweden Anton Dolin, Meduza, Russia Katja Nicodemus, Die Zeit, Germany Wang Muyan, The Paper, China Rita Di Santo, The Morning Star, UK Paolo Bertolin, Segnocinema, Italy Screen’s own critic
As in previous years, each critic watches each Competition film and awards a star rating on the following scale: four (excellent...
- 2/22/2020
- by 1101321¦Ben Dalton¦26¦
- ScreenDaily
Sf’s logo is one every Scandinavian is familiar with. A film production company, distributor and the owner of a movie theater chain across the Nordic and Baltic countries until recently, it is a cultural landmark not only in its native Sweden, but also across the Nordic countries.
Founded as Svensk Filmindustri in 1919, Sf played an instrumental role in what is known as the golden age of Swedish cinema. Ambitious productions by directors including Victor Sjöström and Mauritz Stiller, based on famous Nordic literary works, attracted international attention.
After a lull in the 1930s, Swedish cinema enjoyed a revival in the 1940s, partly thanks to the appointment of Sjöström, who had returned to Sweden after working in Hollywood, as artistic director of Sf. As the producer of most Ingmar Bergman films as well as the Astrid Lindgren adaptations, which remain hugely popular across Scandinavia to this day, Sf was firmly...
Founded as Svensk Filmindustri in 1919, Sf played an instrumental role in what is known as the golden age of Swedish cinema. Ambitious productions by directors including Victor Sjöström and Mauritz Stiller, based on famous Nordic literary works, attracted international attention.
After a lull in the 1930s, Swedish cinema enjoyed a revival in the 1940s, partly thanks to the appointment of Sjöström, who had returned to Sweden after working in Hollywood, as artistic director of Sf. As the producer of most Ingmar Bergman films as well as the Astrid Lindgren adaptations, which remain hugely popular across Scandinavia to this day, Sf was firmly...
- 5/9/2019
- by Lise Pedersen
- Variety Film + TV
Goteborg — The excitement was palpable on Thursday in the Stora Theatern, when Göteborg Film Festival artistic director Jonas Holmberg appeared on stage to present Danish actor right before the screening of the Academy Award-nominated “The Hunt,” which still drew astonished gasps from the crowd. Quickly advertising the actor’s latest film “Arctic”, Holmberg welcomed director Thomas Vinterberg, arriving in town mere minutes before the event.
“I am very proud of ‘The Hunt.’ The only sad thing about it is that the reality is much worse,” he said. “But there is beauty in this film, and one of the beauties is Mads Mikkelsen, even though we tried to give him some glasses and a weird haircut. It was possibly the best collaboration I have ever had.”
“This city is actually where my career started,” Mikkelsen shared later in conversation with Dagens Nyheter’s film editor Helena Lindblad, referring to his short-lived...
“I am very proud of ‘The Hunt.’ The only sad thing about it is that the reality is much worse,” he said. “But there is beauty in this film, and one of the beauties is Mads Mikkelsen, even though we tried to give him some glasses and a weird haircut. It was possibly the best collaboration I have ever had.”
“This city is actually where my career started,” Mikkelsen shared later in conversation with Dagens Nyheter’s film editor Helena Lindblad, referring to his short-lived...
- 2/1/2019
- by Marta Balaga
- Variety Film + TV
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