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Around
350 films are shown every year as part of the Berlinale's
public programme, the vast majority of which are world or
European premieres. Films of every genre, length and format
can be submitted for consideration. The Berlinale's film programme
is divided into six sections: Competition, Panorama, International
Forum of New Cinema, Kinderfilmfest, Perspektive Deutsches
Kino and Retrospective. Each section is headed by a section
director, who is responsible for selecting the films and is
advised by the Berlinale's correspondents and other experts.
On 11
February 2006, the third Berlinale Talent Campus will kick
off with the presentation of the Berlin Today Award (BTA).
From 180 ideas for films, three were selected which were then
produced with the help of the Berlin-Brandenburg Mediaboard:
Brazilian Anna Azevedo filmed a documentary about Berlin-based
Brazilian football star Marcelinho; in his film Under These
Wings, Harrie Verbeek of the Netherlands tells the story of
Sarah, who is unexpectedly reminded of the day the Berlin
Wall fell; and, for the first time, an animation movie was
nominated for the BTA with If You Need Me by Darija Andovska
(Macedonia) and Mladen Djukic (Bosnia-Herzegovina).
Some titles
have already been selected including for Germany, Oskar Roehler
will present his adaptation of 'The Elementary Particles'
starring Franka Potente (The Bourne Identity, Run Lola Run)
and Bosnian director Jasmila Zbanic in her first feature film
'Grvabiva'. This is a raw film following the outcome of a
rape victim after the war in the Balkans. It is a joint production
from Austria, Bosnia-Herzegovnina, Germany and Croatia.
The full
line up of nominations for the awards for the Forum for world
cinema include 40 films of which 21 are world premieres and
15 debut works.
At the 36th Forum, once again viewers will discover primarily
directing debuts and films by young directors: feature films
that defy conventions, like the Japanese narrative experiment
We Can’t Go Home Again by Fujiwara Toshi; documentary works
that break through the boundaries of the genre, like the South
African Conversations on a Sunday Afternoon by Khalo Matabane;
unique ethnographic works, like Ben Hopkins’ 37 Uses for a
Dead Sheep, from Britain; daring, emphatically personal form
experiments, like the Belgian film Combat by Patrick Carpentier,
and political films like Laura Poitras’ My Country, My Country,
a report from the eye of the hurricane of the Iraqi parliamentary
elections.
Along with those are films by directors who have frequently
shown their most unusual works in the Forum. They are just
as radical, playful, and intense as of those of the younger
filmmakers. Chantal Akerman’s Là-bas, a cinematic diary
from Tel Aviv, is probably one of the Belgian’s most personal
works. The Canadian Allan King gives filmic expression to
the tragedy of memory loss in Memory for Claire, Max, Ida
and Company. The American avant-garde director James Benning
presents in 27 Years Later an individualistic remake of his
own One Way Boogie Woogie. Alan Berliner agonizes in his insomnia
in his witty, autobiographical Wide Awake. The Romanian Lucian
Pintilie constructs a political parable of admirable precision
in the middle-length Tertium non datur. And in Strange Circus,
the Japanese Sono Sion stages a fulminating psychological
thriller whose wildness, imaginativeness, and extravagance
is hard to top.
The contributions to the 36th Forum come from 29 different
countries; the selection makes no claim to be representative,
but emphasizes originality and innovative strength. Thus,
countries like Malaysia, Iran and the Republic of Korea are
represented with several works. German film, too, presents
itself at the Berlinale in high creative form. The Forum introduces
two feature films and two documentaries that go their own
narrative and thematic ways. Ulrich Köhler’s Montag kommen
die Fenster (Windows on Monday) focuses on a young woman who
flees the malaise of family life for a surreal moment, while
the 18-year-old mother in Henner Winckler’s Lucy feels her
way toward an undefined ideal of life. Thomas Arslan’s Aus
der Ferne (From Far Away) and Aysun Bademsoy’s Am Rand der
Städte (On the Outskirts) seem to beg for comparison.
Both filmmakers traveled in Turkey and approach a country
without which everyday life in Germany today would be completely
different. As as Special Screening the Forum presents the
next to last Kinder von Golzow film Und wenn sie nicht gestorben
sind... (And If They Haven't Passed Away... The Children from
Golzow. The End of an Endless Story) by Barbara and Winfried
Junge.
Films in the Forum 2006 are:
- 37 Uses for a Dead Sheep by Ben Hopkins, Great Britain/Turkey
(WP)
- Am Rand der Städte by Aysun Bademsoy, Germany (WP)
- Another Morning (Sobhi Digar) by Nasser Refaie, Iran (WP)
- Atos dos Homens (Acts of Men) by Kiko Goifman, Brazil/Germany
(WP)
- Au-delà de la haine (Beyond Hatred) by Olivier Meyrou,
France (IP)
- Aus der Ferne by Thomas Arslan, Germany (WP)
- Babooska by Tizza Covi und Rainer Frimmel, Austria/Italy
(IP)
- Barakat! by Djamila Sahraoui, Algeria/France (WP)
- Before Born (Jie guo) by Zhang Ming, China (EP)
- Big River by Funahashi Atsushi, Japan/USA (EP)
- Close to Home (Karov la bayit) by Dalia Hager und Vidi Bilu,
Israel (EP)
- Combat by Patrick Carpentier, Belgium (WP)
- Congo River by Thierry Michel, Belgium (IP)
- Conversations on a Sunday Afternoon by Khalo Matabane, South
Africa (EP)
- Dear Pyongyang by Yang Yong-hi, Japan (EP)
- De Particulier à Particulier (Hotel Harabati) by
Brice Cauvin, France (WP)
- Doskonale popoludnie (The Perfect Afternoon) by Przemyslaw
Wojcieszek, Poland (IP)
- Happy People by Aleksandr Shapiro, Ukraine (WP)
- Host & Guest (Bangmunja) by Shin Dong-il, Republic of
Korea (IP)
- In Between Days by So Yong Kim, USA/Canada (IP)
- Inatteso (Unexpected) by Domenico Distilo, Italy (IP)
- John & Jane by Ashim Ahluwalia, India (EP)
- Kinetta by Yorgos Lanthimos, Greece (EP)
- Là-bas by Chantal Akerman, France/Belgium (WP)
- L’Appel des arènes (Wrestling Grounds) by Cheikh
Ndiaye, Senegal/Morocco/France (WP)
- La Prisionera (The Prisoner) by Fermín Villanueva,
Alejo Moguillansky, Argentina (WP)
- Lenz by Thomas Imbach, Switzerland/Germany (IP)
- Lucy by Henner Winckler, Germany (WP)
- Memory for Claire, Max, Ida and Company by Allan King, Canada
(EP)
- Men at Work (Kargaran mashghool-e karand) by Mani Haghighi,
Iran (IP)
- Monday Morning Glory (Lampu merah mati) by Woo Ming Jin,
Malaysia (EP)
- Montag kommen die Fenster by Ulrich Köhler, Germany
(WP)
- My Country, My Country by Laura Poitras, USA (WP)
- One Way Boogie Woogie / 27 Years Later by James Benning,
USA (EP)
- Schuss! by Nicolas Rey, France (IP)
- Strange Circus by Sono Sion, Japan (EP)
- The Last Communist (Lelaki komunis terakhir) by Amir Muhammad,
Malaysia (WP)
- The Peter Pan Formula (Peterpan-eui gongsik) by Cho Chang-ho,
Republic of Korea (EP)
- We Can’t Go Home Again (Bokura wa mo kaerenai) by Fujiwara
Toshi, Japan (WP)
- Wide Awake by Alan Berliner, USA (IP)
Special screenings:
- News from Home / News from House by Amos Gitai, Israel/France/Belgium
(WP)
- Parineeta by Pradeep Sarkar, India
- Place de la République by Louis Malle, France 1972-74
- Tertium non datur by Lucian Pintilie, Romania (WP) / Visul
lui Liviu (Liviu’s Dream) by Corneliu Porumboiu, Romania
- Und wenn sie nicht gestorben sind... Die Kinder by Golzow.
Das Ende der unendlichen Geschichte by Barbara und Winfried
Junge, Germany (WP)
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