Berlinale is one of the most interesting festivals around, if only because of the wide swath of foreign-language titles that some other fests shy away from. We can always count on a great variety of titles, and 2024 was no different! Don’t miss out on our full coverage after the jump!
Films
ANDREA GETS A DIVORCE
(Written by Intern, Shaun E) How guilty is a person of their mistakes? That is the question at the center of Andrea Gets a Divorce, a subtle drama set in rural Austrian countryside. Small-town cop Andrea (Birgit Minichmayr) wishes to put her stagnant life in the rear-view mirror, looking for reassignment to capital St. Pölten. At patrol partner Georg’s (Thomas Schubert) birthday party, Andrea’s ex-husband, Andi (Thomas Stipsits), drunkenly asks for a second chance. She declines, and even takes his car keys so he does not drive under influence. Things take a turn for the worst as Andrea, briefly distracted from the road, accidentally hits Andi on her way home. She decides to flee the scene when he is unresponsive, and local teacher, Leitner (Josef Hader), faces blame for the death after discovering the body. Themes of remorse and atonement carry through further conversations between the two, and Andrea reflects on her actions as she comes to know more about the accused Leitner. Writer/director Josef Hader splits acting duties with creating a heartfelt slice-of-life experience by utilizing minimalistic soundtracks and soft visual palettes. Leering glances and demeaning comments from various men in town bring an interesting angle to the narrative, yet misogyny is generally presented as a background detail rather than an influential force in the plot. Lean character development and subdued performances make for a rather middle-of-the-road story, and culminates in a more low-key watch than a deep contemplation of morality and culpability. Andrea Gets a Divorce examines the aftermath of a harrowed marriage, yet has difficulty drawing the viewer’s focus on an impactful takeaway by the end.
HULING PALABAS
Rolling it back to the summer of 2001, Huling Palabas (also known as Fin) follows a long line of coming-of-age stories. This one is unique in that it is set in the Philippines, focused on sixteen-year-old Andoy (Mark Shun) just before graduation. Andoy feels like an outsider in his own family—living with his awful uncle and pushover of an aunt, Andoy’s only real friend, Pido (Bon Andrew Lentejas), whiles away the hours biking and nabbing VHS tapes for the duo to watch. Yes, while the other boys at school oogle over breast sizes, Andoy obsesses over what crazy new horror film he can get his hands on to spook his class. As the narrative weaves in and out of injecting magical realism, Mark Shun does a great job of endearing Andoy to the viewer. The main issue here lies on the script lines. For a film overflowing with so many interesting ideas, Huling Palabas fails to commit. Too many of them are half-baked, such as the element of Andoy questioning his sexuality, Andoy’s trauma over losing his father, or whatever weird situation occurs with his uncle in the finale. The strongest facet, without a doubt, is the central friendship between Andoy and Pido. The love they have towards each other, whether it be entirely platonic or not, shines through even the stranger moments.
LA COCINA
Full review at the link.
MY NEW FRIENDS
(Written by Intern, Shaun E) News of protesting and political unrest are nothing unfamiliar to the current day audience. Under French title Les Gens d’à Côté, meaning The People Next Door, My New Friends looks closer at human connection despite opposing views. Recently widowed police officer Lucie (Isabelle Huppert) meets her new neighbors, Yann (Nahuel Pérez Biscayart) and Julia Durieux (Hafsia Herzi), and their daughter, Rose (Romane Meunier). Lucie returns to work after a lengthy grief recovery, while befriending the young family. As she gets closer, she becomes torn over her affection for the Durieuxs, as she discovers Yann’s anarchist affiliations. Writer/director André Téchiné uses handheld cameras to voyeuristically peek over fences or through windows, and utilizes softly moody sequences to contrast with impactful footage of activist demonstrations. If there was ever a time when commentary on clashing beliefs was needed, it would be now. However, a clear sense of the story’s message becomes lost in fluffy slice-of-life montages, dimly lit dream sequences, and all too short examinations of character motivations. Many serious subjects are introduced, such as high suicide rates among police, criticism of law enforcement, marriage problems, and coping with the loss of loved ones. Unfortunately, some threads are left without follow through, and result in a disjointed feel to the narrative. The Romeo and Juliet “two households” dynamic—in a platonic familial love form—presents an interesting premise, though the unbalanced tone makes this drama more of a surface-level, bittersweet tale than a thought-provoking conflict of ideas.
WHO BY FIRE
Strictly for fans of slow-paced cinema and movies that play fast and loose with pacing and structure, Berlinale has got you covered! Written and directed by Philippe Lesage, French-language drama Who By Fire takes place at a film director’s wilderness lodge. One may anticipate a meta peek behind the curtain of creatives; instead, Lesage falls down a rabbit hole of static, dialogue-heavy interludes. Film-obsessed outsider Jeff (Noah Parker) has been invited to this retreat, accompanying his close friend, Max (Antoine Marchand-Gagnon), his sister Aliocha (Aurelia Arandi-Longpre), and their father. Throughout the course of their stay, Jeff’s sexual attraction for Aliocha will be put to the ultimate test. The only genuinely good scene features a random dance interlude where the whole company rocks out to B52’s classic, “Rock Lobster.” Perhaps a film comprised of at least 45% annoyingly long dinner conversations and heated debates may appeal to some. Already fighting an uphill battle clocking in at nearly three hours in length, Who By Fire wastes far too much time on dragging its metaphorical feet than in telling a story that matters.
YOUNG HEARTS
Full review at the link.
Until next year, we will never forget the beautiful, often heartbreaking films that Berlinale had on offer!