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A Different Man.The Berlinale have begun to announce the first few titles selected for the 74th edition of their festival, set to take place from February 15 through 21, 2024. This page will be updated as further sections are announced.COMPETITIONAnother End (Piero Messina)Architecton (Victor Kossakovsky)Black Tea (Abderrahmane Sissako)La Cocina (Alonso Ruiz Palacios) Dahomey (Mati Diop)A Different Man (Aaron Schimberg)The Empire (Bruno Dumont)Gloria! (Margherita Vicario)Suspended Time (Olivier Assayas)From Hilde, With Love (Andreas Dresen)My Favourite CakeLangue Etrangère (Claire Berger)Small Things Like These (Tim Mielants)Who Do I Belong To (Meryam Joobeur)Pepe (Nelson Carlos De Los Santos Arias)Shambhala (Min Bahadur Bham)Sterben (Matthias Glasner)Small Things Like These (Tim Mielants)A Traveler’s Needs (Hong Sang-soo)Sleep With Your Eyes Open. ENCOUNTERSArcadia (Yorgos Zois)Cidade; Campo (Juliana Rojas)Demba (Mamadou Dia)Direct ActionSleep With Your Eyes Open (Nele Wohlatz)The Fable (Raam Reddy...

The Film Society of Lincoln Center has today announced the fourth edition of Art of the Real, their essential showcase for boundary-pushing nonfiction film, scheduled to take place April 20 – May 2. Billed as “a survey of the most vital and innovative voices in nonfiction and hybrid filmmaking,” this year’s showcase features an eclectic, globe-spanning host of discoveries, including seven North American premieres and eight U.S. premieres.

“In our fourth year we’ve put an emphasis on placing works by first-time and emerging filmmakers alongside established names, with the aim to highlight the experimentation happening across generations, and to trace a new trajectory of documentary art that points to its promising future,” said Film Society of Lincoln Center Programmer at Large Rachael Rakes, who organized the festival with Director of Programming Dennis Lim.

The Opening Night selection is the New York premiere of Theo Anthony’s “Rat Film,” which has...

World premieres include Barrage, starring Isabelle Huppert and her daughter Lolita Chammah.Scroll down for full list

This year’s Forum programme at the Berlin Film Festival (Feb 9-19), which highlights avant garde and experimental works, will feature 47 films, including 29 world premieres.

These include the premiere of Laura Schroeder’s Barrage, which stars Isabelle Huppert alongside her daughter Lolita Chammah in the story of a young woman who returns to Luxembourg after a 10-year absence to spend time with her estranged child. Huppert plays the grandmother, who has fostered the young girl during that absence.

Read: ‘Barrage’, starring Isabelle Huppert and daughter Lolita, finds sales home

Having its international premiere at Forum this year will be Golden Exits, the new feature from American filmmaker Alex Ross Perry. His previous credits include Queen Of Earth, which premiered at Berlin in 2015. His latest tells the story of a young Australian woman who comes to New York for a few months...

The 67th Berlin International Film Festival announced 43 additions to its 2017 roster today, including Alex Ross Perry’s “Golden Exits,” Joshua Z. Weinstein’s “Menashe,” and Amman Abbasi’s “Dayveon,” and rounding out much of the festival’s main line-up.

Read More: Berlinale 2017 Will Premiere ‘Logan,’ ‘Trainspotting: T2,’ and Hong Sangsoo’s Latest

Known for its robust variety of programming, the festival previously announced new films from Aki Kaurismaki, Oren Moverman, Sally Potter, Agnieszka Holland, and Sebastian Lelio. More commercial fare includes the international premiere of Danny Boyle’s “Trainspotting” sequel, and the world premiere of James Mangold’s addition to the Wolverine franchise, “Logan.”

Read More: 5 Exciting Films in the 2017 Berlin Film Festival Competition Lineup

The films of the 47th Forum are:

2 + 2 = 22 [The Alphabet] by Heinz Emigholz, Germany – Wp

Adiós entusiasmo (So Long Enthusiasm) of Vladimir Durán, Argentina / Colombia – Wp

At Elske Pia (Pia Loving) by Daniel Joseph Borgmann, Denmark – Wp...

Becoming Anita EkbergThe Film Society of Lincoln Center’s "Art of the Real" series, which recently unspooled its second season, has become New York’s annual showcase for the “hybrid” film, experimental works that, despite a more than tenuous relationship with the documentary tradition, oscillate between fiction and nonfiction. Now that documentary has become unmistakably fashionable (a banal subplot in Noah Baumbach’s dreary comedy, While We’re Young, is even spawned by cartoonish version of a debate over “documentary ethics”) the schism between films such as The Hunting Ground and Merchants of Doubt, which resemble feature-length 60 Minutes stories, and the sort of documentaries programmed at film festivals like Doclisboa and Cph: Dox has grown even wider. Art of the Real, laden with an amalgam of festival favorites and classic precursors of cinematic hybridity (this year’s Agnés Varda retrospective is a case in point) is certainly a cheerleader for...

Letters to Max

Dear Fern,

Ah, Tsukamoto's Fires of the Plain! I liked this film very much, the director-actor-editor-cinematographer's baby-faced soldier hysterically pushing through an unforgiving jungle, unforgiving war, unforgiving humanity, slushy digital shades of the surrealism in Herzog's under-appreciated Rescue Dawn and Buñuel's Death in the Garden.

I have still more to tell of the shorts in the experimental Wavelengths sections, so please excuse my continued digressions away from the features you are seeing (and I too, but am leaving to your choice words!). Two of the best features I've seen, Christian Petzold's tremendous post-war German theoretical thriller Phoenix and Lonnie van Brummelen and Siebren de Hann's rich, generous Episode of the Sea, I'll save for another time.

Something a bit more documentary than avant-garde closed the third Wavelengths shorts program, Rebecca Baron's Detour de force. This found footage film pulled from the University of...

What follows is a highly selective, unavoidably partial guide to the Wavelengths section of the 2014 Toronto International Film Festival, which kicks off today. Perhaps it seems that “selective” and “partial” are synonymous enough to produce redundancy when placed within the same sentence, and in most instances I would agree with this objection. In the first case, "selective," I will note that, of the 28 shorts and features that I was able to preview from the Wavelengths section (impeccably curated, as always, by the perspicacious Andréa Picard), I have chosen to highlight the fifteen that I personally found most aesthetically and intellectually bold, invigo(u)rating, troubling, critical-verbiage-thwarting, or otherwise worthy of hearty recommendation. This in no way implies that the other works were somehow lacking, only that I could not see my way through to them at this particular time and place. A different set of viewing circumstances (the ones you’re about to embark upon,...

Yesterday, Tiff’s Wavelengths program unveiled a Locarno-heavy line-up of feature-length films that all aim to push the cinematic medium to its breaking point. Highlights include new films by Pedro Costa’s first “proper” feature in eight years, Horse Money (scarequotes because Ne change rien really is quite a singular, musky piece of work – see pic above); Eugène Green’s typically Baroque La Sapienza; 338 minutes of gruelling Filipino mastery from Lav Diaz in the form of From What is Before; Yoo Soon-mi’s essay film on the tensions between North and South Korea, Songs From the North; and The Princess of France, Matías Piñeiro’s follow-up to his breakout revisionist Shakespeare drama. Other features include Tsai Ming-liang’s sixth and longest entry in his Walker series, Journey to the West (complete with a Denis Lavant (Holy Motors) cameo); Cannes hits like Sergei Loznitsa’s Maidan and Lisandro Alonso’s Jauja...

The Arnold Schwarzenegger and Abigail Breslin zombie drama Maggie, Dustin Hoffman drama Boychoir, Kristen Wiig comedy Welcome To Me and Sophie Barthes’ Madame Bovary have landed world premieres, Tiff gala and special presentation slots.

Also in line to screen for the first time anywhere at the Toronto International Film Festival (Sept 4-14) are crime thriller The Forger starring John Travolta, Christopher Plummer and Tye Sheridan, thriller Escobar: Paradise Lost starring Benicio Del Toro, Thomas McCarthy’s The Cobbler starring Adam Sandler, and Paul Bettany’s directorial debut Shelter.

Tiff top brass also unveiled the Wavelengths, Future Projections, Tiff Cinematheque and shorts programmes.

Wp = World premiere / Nap = North American premiere / IP = International premiere / Cp = Canadian premiere.

Galas

Boychoir (Us), François Girard Wp

The Connection (La French) (France-Belgium), Cédric Jimenez Wp

Escobar: Paradise Lost (France), Andrea Di Stefano Wp

The Forger (Us), Philip Martin Wp

Infinitely Polar Bear (Us), Maya Forbes Cp

Laggies (Us), Lynn Shelton IP

Ruth & Alex...

The Arnold Schwarzenegger and Abigail Breslin zombie drama Maggie, Kristen Wiig comedy Welcome To Me and Sophie Barthes’ Madame Bovary have landed world premieres, Tiff gala and special presentation slots.

Also in line to screen for the first time anywhere at the Toronto International Film Festival (Sept 4-14) are crime thriller The Forger starring John Travolta, Christopher Plummer and Tye Sheridan, thriller Escobar: Paradise Lost starring Benicio Del Toro, Thomas McCarthy’s The Cobbler starring Adam Sandler, and Paul Bettany’s directorial debut Shelter.

Tiff top brass also unveiled the Wavelength, Future Projections, Tiff Cinematheque and shorts programmes.

Wp = World premiere / Nap = North American premiere / IP = International premiere / Cp = Canadian premiere.

Galas

Boychoir (Us), François Girard Wp

The Connection (La French) (France-Belgium), Cédric Jimenez Wp

Escobar: Paradise Lost (France), Andrea Di Stefano Wp

The Forger (Us), Philip Martin Wp

Infinitely Polar Bear (Us), Maya Forbes Cp

Laggies (Us), Lynn Shelton IP

Ruth & Alex (Us), Richard Loncraine Wp

Special...

Above: Rinko Kikuchi in Kumiko, the Treasure Hunter

The lineup for this year's Forum section has been unveiled (minus the special screenings which will be announced soon), providing "an overview of independent, artistic filmmaking with a disregard for convention, screening 28 world and eight international premieres from every single continent."

The Airstrip (Heinz Emighol), Germany - World Premiere

Al doilea joc (The Second Game) (Corneliu Porumboiu), Romania - World Premiere

Le beau danger (René Frölke), Germany / Italy - World Premiere

Butter on the Latch (Josephine Decker), USA - World Premiere

Casse (Scrap Yard) (Nadège Trebal), France - International Premiere

Castanha (Davi Pretto), Brasil - World Premiere

Cheol-ae-kum (A Dream of Iron) (Kelvin Kyung Kun Park), Republic of Korea / USA - World Premiere

Chilla (40 Days of Silence) (Saodat Ismailova), Uzbekistan / Tajikistan / Netherlands / Germany / France - World Premiere

The Darkside (Warwick Thornton), Australia - International Premiere

L’enlèvement de Michel Houellebecq (The Kidnapping...

The Berlinale’s Forum line-up includes new films from Corneliu Porumboiu, Denis Côté and Guillaume Nicloux.

The strand will include 28 world premieres and eight international premieres from every continent.

Porumboiu’s Al Doilea Joc (The Second Game) follows a football match between top Romanian teams Dinamo and Steau and the experience of the director’s father who refereed the game.

In L’enlèvement de Michel Houellebecq (The Kidnapping of Michel Houellebecq), French director Guillaume Nicloux has brawny gangsters kidnap controversial writer Michel Houellebecq, where he is held captive for days in a house outside Paris.

Canadian director Cote was last year nominated for the Golden Bear for Vic + Flo Saw a Bear.

Ken Jacobs’ The Guests is an expanded one-minute film turned into a 70-minute black-and-white silent film in 3D.

The strand’s Special Screenings will be announced soon.

Forum

Wp = World premiere, IP = International premiere

The Airstrip by Heinz Emigholz, Germany - Wp[p...

The crows knew it from Day One: Berlin 2011 would be a—slightly—happier experience. Normally, when night began to fall, the crows descended upon the frost-bleak trees around Potsdamer Platz and cawcawed for hours, filling the silence of bad cinema, crushed hopes and now-for-real lost illusions with their woe-cum sorrowful sounding songs. Hundreds, maybe thousands of them. The trees were black for birds. Every evening, starting around 5pm or 6pm, reliably—you could set your watch to them (if you take things easy, that is...). Yet, this time around, the crows were nowhere to be seen. Maybe it's true what a friend of TO1..., comrade Möller suggested: It looks as if the crows were trying to make Berlin their permanent home, become true city slickers, which necessitates certain changes of behavior; rings scientifically solid. Still, we couldn't shake off the feeling that they somehow sensed a thing or two,...