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Jafar Panahi’s It Was Just An Accident and Mario Martone’s Fuori have landed joint top and bottom of Screen’s Cannes jury grid.

Iranian drama It Was Just An Accident joins Sergei Loznitsa’s Two Prosecutors in first place with a 3.1 average from the critics.

Click on the image above for the most up-to-date version of the grid.

The film, which follows the chain reaction caused by a minor incident, received four four-stars (excellent) and five three-stars (good) while three critics gave it two-stars (average).

It is an increase on Panahi’s last time in Competition in 2018 where 3 Faces scored a 2.6 rating.

Ari Aster’s Eddington has recorded the lowest score so far on Screen’s Cannes jury grid, while Hafsia Herzi’s The Little Sister lands with a middling average.

Covid-era Western Eddington received an average of 1.5, including a zero star (bad) from rogerebert.com’s Ben Kenigsberg.

Click on the image above for the most up-to-date version of the grid.

The film also scored six one-stars (poor) and three two-stars (average) but Katja Nicodemus (Die Zeit) and Mathieu Macharet (Le Monde) were more impressed, giving it a three-star (good).

Eddington stars Joaquin Phoenix, Pedro Pascal, Emma Stone and Austin Butler...

Screen Internationalcan reveal the critics participating in this year’s jury grid at the 2025 Cannes Film Festival (May 13-24).

JoiningScreen’s reviewing team will be critics from 11 international outlets to give their verdict on the 21 films in Competition this year for the Palme d’Or.

This year’s critics are all returners to the jury grid.

The results of the jury grid will be published inScreen’s Cannes daily magazines as well as live updates on screendaily.com.

The 2025 Cannes jury grid critics are: Nt Binh -Positif, France Robbie Collin / Tim Robey –The Telegraph, UK Katja Nicodemus –Die Zeit, Germany Ben Kenigsberg –Rogertebert.

Gabriel Mascaro’s The Blue Trail is the winner of this year’s Berlin jury grid with an average score of 3.4 as Kateryna Gornostai’s Timestamp, Hong Sangsoo’s What Does Nature Say To You and Lionel Baier’s The Safe House completethe entries.

The Blue Trailstars Denise Weinberg in a dystopian fable following a 77-year-old who embarks on a journey through the Amazon. It received four four-stars (excellent) and five three-stars (good) and beats last year’s joint winners My Favourite Cake and The Devil’s Bath with 3.1.In the official Berlin award ceremony, the film received theSilver Bear grand...

Richard Linklater’s Blue Moon and Mary Bronstein’s If I Had Legs I’d Kick You are among the latest titles dividing critics on this year’s Berlin jury grid.

Ethan Hawke stars as songwriter Lorenz Hart in his latest collaboration with Linklater which scored an average of 2.8 stars after proving divisive. Blue Moon received three four stars (excellent) while Martin Horyna and Kalapapruek gave it just one star (poor). The rest of the scores comprised two or three stars with one critic left to score.

Linklater’s last outing at Berlin was over 10 years ago with Boyhood which topped...

Sean Baker’s Anora has stormed to the top of Screen’s Cannes jury while Paolo Sorrentino’s Parthenope divided critics and Christophe Honoré’s Marcello Mio scored the lowest of this year’s festival so far.

Baker’s latest feature received a solid 3.3 - the first film this year to score an average above three stars, overtaking last year’s jury grid winner, Aki Kaurismäki’s Fallen Leaves (3.2).

The US comedy-drama about a sex worker received six scores of four stars (excellent) and four marks of three stars (good). Critics Katja Nicodemus (Germany’s Die Zeit) and Anton Dolin (Meduza) were less convinced,...

Yorgos Lanthimos’ Kinds Of Kindness has landed top of Screen International’s Cannes jury grid with an average score of 2.4.

The triptych drama is the first film so far to receive a four (excellent), both from Le Meduza’s Anton Dolin and Screen’s own critic. Others were less convinced with Mathieu Macharet (France’s Le Monde) and Stephanie Zacharek (US Time) both giving it just one (poor).

Click on the jury grid above for the most up-to-date version.

Lanthimos has proved divisive on the jury grid before, in 2017 with The Killing Of A Sacred Deer which scored a 1.9 overall...

Screen International can reveal the critics participating in this year’s jury grid at the 2024 Cannes Film Festival (May 14-25).

Joining Screen’s reviewing team will be critics from 11 international outlets to give their verdict on the 22 films in Competition this year for the Palme d’Or.

This year’s critics are all returners to the jury grid with the exception of Nt Binh who replaces Michel Ciment for France’s Positif. Ciment passed away in November last year at 85 and was a long-time contributor to the jury grid.

The selection also includes Justin Chang for The New Yorker who...

Veronika Franz and Severin Fiala’s The Devil’s Bath and Maryam Moghaddam and Behtash Sanaeeha’s My Favourite Cake have jointly topped Screen’s 2024 Berlin jury grid with an average score of 3.1.

See the final 2024 grid below.

The last three titles to land, Meryam Joobeur’s Who Do I Belong To?; Gustav Möller’s Sons; and Min Bahadur Bham’s Shambhala, could not unseat the duo after scoring 2.8, 2.1 and 2.4 respectively.

Who Do I Belong To? follows a Tunisian mother struggling to cope when her jihadist son returns from Syria. It earned two fours (excellent) from Die Zeit’s Katja Nicodemus and Meduza’s Anton Dolin,...

Michael Lockshin’s film adaption of Bulgakov’s anti-censorship masterpiece has become a box office hit in Russia against all odds

In an ironic twist, Russia’s wartime box office is being dominated by a blockbuster adaptation of Mikhail Bulgakov’s Master and Margarita, a film that denounces censorship and was filmed by an American director who is “vocally anti-war”.

One leading film critic, Anton Dolin, told the Guardian it was the “best commercial film ever shot in [Vladimir] Putin’s Russia”. A movie’s runaway success can work against it in Russia now: the film has had to run the gauntlet of pro-Kremlin propagandists and censors, and in true Hollywood fashion it has triumphed against the odds.

Psychological thriller The Devil’s Bath has scored an average of 3.1 from critics on Screen’s Berlin jury grid, meaning it is now the joint leader alongside My Favourite Cake.

The latest from Austrian Goodnight Mommy duo Veronika Franz and Severin Fiala received two four stars (excellent) from Barbara Hollender (Poland’s Rzeczpospolita) and Paolo Bertolin cinematografo.it while five critics gave it three (good). Rita Di Santo (UK’s Morning Star) was less in favour of the film, following a newly married woman in 1750 who commits a shocking act of violence, awarding it just one star (poor).

Click on the...

Psychological thriller The Devil’s Bath has snapped up second place on Screen’s Berlin jury grid after scoring an average of 3.0 from the critics.

The latest from Austrian Goodnight Mommy duo Veronika Franz and Severin Fiala received one four (excellent) from Barbara Hollender (Poland’s Rzeczpospolita), followed by six threes (good) while Rita Di Santo (UK’s Morning Star) gave it a one (poor). Set in 1750, the thriller follows a newly married woman who commits a shocking act of violence.

Click on the jury grid above for the most up-to-date version.

Receiving a 1.9 average was Black Tea from Mauritania-­born filmmaker Abderrahmane Sissako.

Psychological thriller The Devil’s Bath has snapped up second place on Screen’s Berlin jury grid after scoring an average of 3.0 from the critics.

The latest from Austrian Goodnight Mommy duo Veronika Franz and Severin Fiala received one four (excellent) from Barbara Hollender (Poland’s Rzeczpospolita), followed by six threes (good) while Rita Di Santo (UK’s Morning Star) gave it a one (poor). Set in 1750, the thriller follows a newly married woman who commits a shocking act of violence.

Click on the jury grid above for the most up-to-date version.

Receiving a 1.9 average was Black Tea from Mauritania-­born filmmaker Abderrahmane Sissako.

Tim Mielants’ Berlinale opening film Small Things Like These is the first film to land on Screen’s Berlin 2024 Competition jury grid.

Cillian Murphy stars as a quiet man with a conscience in 1980s Ireland in this adaptation of Claire Keegan’s novella, which is produced by Matt Damon and Ben Affleck’s Artists Equity.

Eight critics are taking part in this year’s jury grid and will mark all 20 films playing in competition.

Click on the jury grid above for the most up-to-date version.

The film divided critics, earning an average score of 2.4 overall. It received four two-star ratings...

Just days after the Russian blockbuster “The Master and Margarita” surged to the top of the domestic box office, Kremlin cronies, pro-war propagandists and an army of online trolls have waged a campaign to discredit the film and its director, Michael Lockshin, a U.S. citizen who was raised in the Soviet Union and has been outspoken in his opposition to the war in Ukraine.

A source close to the film, who asked not to be named out of fear of potential repercussions, tells Variety that the movie’s staggering success and pointed critique of authoritarian rule has struck a nerve in right-wing circles at a time when Russian President Vladimir Putin has cracked down on any form of dissent.

“The propagandists are both envious and also hateful that a movie with an anti-censorship, anti-totalitarian, anti-war message is getting so much popularity, that they have doubled down,” the source said.

Despite a Hollywood boycott triggered by the Ukraine war, Russians are still able to access the big releases thanks to a network of illicit screenings

As the war in Ukraine grinds on, civil liberties rapidly evaporate, and a currency spirals ever downward, trips to the cinema may be the least of the average Russian’s worries. Hollywood studios pulled its films out of Russia back in March 2022, but that hasn’t stopped many Russians from enjoying them as a vibrant illegal market for screenings of globally popular films such as Barbie and Oppenheimer has emerged in Russia’s largest cities, including Moscow, St Petersburg and Kazan.

Anton Dolin, who until recently was editor of Iskusstvo Kino, one of Russia’s oldest and most popular film magazines, was forced to leave the country in 2022 after being targeted by pro-war ultranationalists. Speaking from Riga in Latvia, where he is currently living, Dolin...

‘Asteroid City’ scored 2.2 while ‘Kidnapped’ received 2.5.

Wes Anderson’s ‘Asteroid City’ and Marco Bellocchio’s ‘Kidnapped’ land in the middle of Cannes 2023 jury grid, scoring 2.2 and 2.5 respectively.

Anderson’s third run for the Palme d’Or scored five three stars (good) and four two stars (average) while LA Times’ Justin Chang, Postif’s Michel Ciment and Time Magazine’s Stephanie Zacherek gave it one star (poor).

Click on the jury grid above for the most up-to-date version.

Featuring an A-list ensemble cast including Tom Hanks, Scarlett Johansson and Margot Robbie, Asteroid City is set in a 1950’s US desert town...

Aki Kaurismaki’s latest is the new leader on the grid with a 3.2 average.

Aki Kaurismaki’s Fallen Leaves has snatched the top spot on the Cannes jury grid with an average score of 3.2.

The tragicomedy scored four fours (excellent) from Meduza’s Anton Dolin; Postif’s Michel Ciment; Time Magazine’s Stephanie Zacharek; and Roberebert.com’s Ben Kenigsberg. Kaurismäki’s film received a further six threes (good) and two twos (average).

Click on the jury grid above for the most up-to-date version.

Hailing from Finland, Fallen Leaves centres around a shop assistant and alcoholic sandblaster who met one night in Helsinki.

Hirokazu Kore-eda’s Monster scored 2.3 and Catherine Corsini’s Homecoming scored 2.

Hirokazu Kore-eda’s Monster and Catherine Corsini’s Homecoming are the first titles to land on Screen’s Cannes 2023 competition jury grid.

Kore-eda’s seventh competition entry received an average of 2.3 while Corsini’s return to Cannes averaged at 2.

This year, 12 critics are taking part in the jury grid to score all 21 titles competing for the festival’s Palme d’Or.

For the first time this year, the jury grid will update live on screendaily.com, in addition to being printed in our Cannes daillies.

Monster received a mixture...

Hirokazu Kore-eda and Catherine Corsini titles earn middling scores from our critics.

Hirokazu Kore-eda’s Monster and Catherine Corsini’s Homecoming are the first titles to land on Screen’s 2023 Cannes Competition jury grid.

Kore-eda’s seventh competition entry received an average of 2.3 while Corsini’s return to Cannes averaged at 2.0, with one score still to report.

This year, critics from 11 outlets, alongside Screen’s critics, are taking part to score all 21 titles competing for the festival’s Palme d’Or.

For the first time this year, the jury grid will update live on screendaily.com, in addition to being printed in our Cannes daillies.

Hirokazu Kore-eda’s Monster scored 2.3 and Catherine Corsini’s Homecoming scored 1.9.

Hirokazu Kore-eda’s Monster and Catherine Corsini’s Homecoming are the first titles to land on Screen’s Cannes 2023 competition jury grid.

Kore-eda’s seventh competition entry received an average of 2.3 while Corsini’s return to Cannes averaged at 1.9.

This year, 12 critics are taking part in the jury grid to score all 21 titles competing for the festival’s Palme d’Or.

For the first time this year, the jury grid will update live on screendaily.com, in addition to being printed in our Cannes daillies.

Monster received a mixture...

Eight films have screened with 11 more to come.

As the Berlinale Competition nears the halfway point, Celine Song’s Past Lives is leading Screen’s Berlin 2023 jury grid with an average score of 3.6.

The romantic drama is way out in front after receiving five four-star ratings from critics – the highest mark meaning “excellent”.

Anton Dolin from Meduza and Katja Nicodemus from Die Zeit marked it lower, at three and two stars respectively.

Song’s debut feature follows two childhood friends from South Korea who reconnect for a few days in New York. It had its world premiere at Sundance last month.

’Someday We’ll Tell Each Other Everything’, ’The Survival Of Kindness’ and ’BlackBerry’ land with middling scores.

Emily Atef’s Someday We’ll Tell Each Other Everything, Rolf de Heer’s The Survival Of Kindness and Matt Johnson’s BlackBerry are the first titles to land on Screen’s Berlin 2023 Competition jury grid.

De Heer’s film leads with an average of 2.4, followed closely by the other two titles on 2.3.

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Seven critics are taking part in this year’s jury grid and will mark all 19 films playing in competition.

The Survival Of Kindness received four three-star ratings...

Kelly Reichardt’s ’Showing Up’ lands third on Screen’s Cannes jury grid.

Park Chan-wook’s Decision To Leave finishes on top of Screen’s Cannes jury grid with an average of 3.2 after Kelly Reichardt’s Showing Up and Léonor Serraille’s Mother And Son fail to match its score.

Reichardt’s Competition debut Showing Up landed in third place with an average of 2.7 after receiving five scores of three (good) from our jurors.

Click top left to expand

The film, starring Michelle Williams, centres on a New York artist preparing for a show who must balance professional demands with...

‘Tori And Lokita’ arrives fifth on Screen’s Cannes jury grid and divides the critics.

Mario Martone’s Nostalgia lands third on the jury grid while Jean-Pierre Dardenne and Luc Dardenne’s Tori And Lokita splits our jurors.

The Palme d’Or winners secure a 2.5 average for Tori And Lokita which follows the friendship between a young boy and a girl as they make the perilous journey from Africa to Belgium. It gathered four threes (good) and three twos (average) from our jurors.

Click here to expand

Meduza’s Anton Dolin awarded the film a four (excellent), but a one...

With almost half of the titles scored, none have yet achieved an average score of three or higher.

Ali Abbasi’s serial killer drama Holy Spider has divided Screen’s Cannes jury grid critics, while Valeria Bruni Tedeschi’s Forever Young landed on the grid with the lowest average score so far.

Holy Spider, which follows a female journalist investigating the murder of sex workers in Iran, achieved a 2.1 average (with one score still to come in). The Telegraph’s Tim Robey and Robbie Collin and Meduza’s Anton Dolin awarded it a four (excellent), but it also picked up...

Latest films from Ruben Ostlund and Cristian Mungiu both earn a 2.5 average score.

Ruben Ostlund’s Triangle Of Sadness and Cristian Mungiu’s R.M.N. achieved an average score of 2.5 on Screen’s Cannes jury grid.

Woody Harrelson, Harris Dickinson and Charlbi Dean star in dark comedy Triangle Of Sadness, which follows a model couple on a yacht with the super-rich who found themselves stranded on a desert island.

Meduza’s Anton Dolin and Postif’s Michel Ciment awarded it four (excellent), but the average was dragged down by a zero (bad) from Le Monde’s Mathieu Macheret. Ostlund...

Jerzy Skolimowski’s ’Eo’, Tarik Saleh’s ’Boy From Heaven’ and Arnaud Desplechin’s ’Brother and Sister’ also land on the jury grid.

James Gray’s Armageddon Time has taken the early lead on Screen’s Cannes jury grid with an average of 2.8 (with one score incoming), whilst the first scores for Jerzy Skolimowski’s Eo, Tarik Saleh’s Boy From Heaven and Arnaud Desplechin’s Brother And Sister are also in.

Period drama Armageddon Time, which stars Jeremy Strong, Anthony Hopkins and Anne Hathaway, received fours (excellent) from Le Monde’s Mathieu Macheret and Time Magazine’s Stephanie Zacharek.

Critics reviewing for 10 international outlets will join Screen’s own reviewing team to give their verdicts on each of the 21 films in Competition.

Screen International has revealed its critics for the jury grid that will run throughout the 2022 Cannes Film Festival (May 17-28).

Critics reviewing for 10 international outlets will join Screen’s own reviewing team to give their verdicts on each of the 21 films in Competition for the Palme d’Or this year.

This year Screen’s long-term Russian contributor to the jury, Anton Dolin, will be joined by his Ukrainian counterpart, Nataliia Serebriakova. Both have had to leave their...

“An intellectual today in Russia cannot afford to be silent,” said Vladimir Mirzoev.

The number of voices within the Russian film community actively speaking out against the Russian invasion of Ukraine is growing daily, as filmmakers Vitaly Mansky, Vladimir Mirzoev and Ilya Khrzhanovskiy and actresses Chulpan Khamatova and Ksenija Rappoport join the call to end the war

Mansky and Khamatova are signatories along with other filmmakers including Ivan Vyrypaev (Euphoria), Tofig Shahverdiev (Our Whole Life Is A Crime), and Andrey Smirnov (A Frenchman), as well as film critic Anton Dolin to an online appeal published by journalist and author Mikhail Zygar...

“An intellectual today in Russia cannot afford to be silent,” said Vladimir Mirzoev.

The number of voices within the Russian film community actively speaking out against the Russian invasion of Ukraine is growing daily, as filmmakers Vitaly Mansky, Vladimir Mirzoev and Ilya Khrzhanovskiy and actresses Chulpan Khamatova and Ksenija Rappoport join the call to end the war

Mansky and Khamatova are signatories along with other filmmakers including Ivan Vyrypaev (Euphoria), Tofig Shahverdiev (Our Whole Life Is A Crime), and Andrey Smirnov (A Frenchman), as well as film critic Anton Dolin to an online appeal published by journalist and author Mikhail Zygar...

“An intellectual today in Russia cannot afford to be silent,” said Vladimir Mirzoev.

The number of voices within the Russian film community actively speaking out against the Russian invasion of Ukraine is growing daily, as leading independent producer Artem Vasilyev of Moscow-based Metrafilms, filmmakers Vitaly Mansky, Vladimir Mirzoev and Ilya Khrzhanovskiy and actresses Chulpan Khamatova and Ksenija Rappoport join the call to end the war.

“This is all wrong,” Vasilyev told Screen of his opinion of the invasion. “I know many people in the Ukrainian film community and I am shocked that the situation has developed in this way.”

Additionally,...

Today’s grid also includes Ildiko Enyedi’s ’The Story Of My Wife’.

Jacques Audiard’s Paris, 13th District and Sean Baker’s Red Rocket achieved middling scores on Screen‘s Cannes jury grid, whilst Ildiko Enyedi’s The Story Of My Wife failed to impress the majority of our jurors.

The latest film from Jacques Audiard – a Palme d’Or winner in 2015 with Dheepan – came out on top of the new arrivals with a score of 2.5, placing it fifth on the grid - just behind Asghar Farhadi’s A Hero. Helping the average were scores of four (excellent) from...

Leos Carax’s ‘Annette’ leads Nadav Lapid’s ’Ahed’s Knee’ and Francois Ozon’s ’Everything Went Fine’.

Leos Carax’s opening-night film Annette has taken the early lead on Screen’s 2021 Cannes jury grid, with three films seen so far by our jurors.

The film, which stars Adam Driver and Marion Cotillard, has an average of three stars, scoring three or four stars from more than half of the critics. However, Screen International’s critic and Positif’s Michel Ciment were the exceptions, both giving the film a less impressive two.

The romantic musical set in Los Angeles is about...

Critics will score the 24 titles in Competition at Cannes

Screen can reveal its critics for the jury grid that will run throughout Cannes 2021 (July 6-17).

There will be 10 submitting entries, comprising 12 different critics including Screen’s own team. Each member will review the 24 titles in Competition and assign a score ranging from zero (bad) up to four stars (excellent).The scores will be aggregated to crown an overall winner.

The results will be published in Screen’s daily magazines at Cannes as well as here on Screendaily.com.

The participating critics are:

Tim Robey/Robbie Collin, The Telegraph, UK Peter Bradshaw,...

The treaty is expected to come into effect by the end of the year.

Russia is set to sign a bilateral co-production agreement with Israel, it was announced at Key Buyers Event: Digital (June 8-10), the audiovisual content market organised by Russian state film body Roskino.

Speaking at a panel on co-production opportunities on Tuesday (June 8), Leonid Demchenko, head of the documentaries and animation cinema department at the Ministry of Culture and Russia’s Eurimages representative said: “I know that there is a need for this treaty and Israeli producers want to cooperate with us. Hopefully, the treaty will come...

Distributor World Pictures cut three minutes of an intimate scene.

Russian cinemagoers will soon be able to see the full version of Harry Macqueen’s Supernova, following a backlash against a censored version that was released by local distributor World Pictures.

The UK film, which stars Colin Firth and Stanley Tucci as a gay couple, was originally released in Russia last month with three minutes cut from the feature by the distributor, namely a scene in which the married couple unsuccessfully try to have sex.

But following an outcry from director Macqueen, several Russian film critics and the Russian LGBT community,...

Top spot shared with ‘Mr Bachmann And His Class’.

Ryusuke Hamaguchi’s tripartite feature Wheel Of Fortune And Fantasy took the joint lead of Screen’s jury grid, recording a strong 3.3 average as the grid nears its conclusion.

It shares the top spot with Mr Bachmann And His Class, with all films having received their scores bar Alonso Ruizpalacios’ A Cop Movie, which has five still to come.

As well as being joint-highest scorer, Wheel… took the most consistent marks on the grid so far.

As well as six threes (good), it took fours (excellent) from Meduza/ Film Art’s...

Critics will rate all 15 titles in the Berlinale Competition.

Screen is launching its jury grid for the 2021 Berlin Film Festival (March 1-5), the first edition of the event to run online.

Eight critics will watch each of the 15 titles, with the average of their scores providing an overall leading title.

This year’s participating critics are:

Rita Di Santo, The Morning Star, UK Paolo Bertolin, Rivista del Cinematografo, Italy Katja Nicodemus, Die Zeit, Germany Anton Dolin, Meduza/Film Art, Russia Stephen Schaefer, The Boston Herald, US Nick James, Sight & Sound, UK Mathieu Macheret, Le Monde/Cahiers Du Cinéma, France Screen International,...

‘Days’, ‘Undine’ come second and third; Abel Ferrara’s ‘Siberia’ last.

Eliza Hittman’s teenage pregnancy drama Never Rarely Sometimes Always has won the Screen Berlin 2020 Competition jury grid, with an average score of 3.4.

It pipped Tsai Ming-liang’s Days by one point, having gained top score fours (excellent) from three critics: Segnocinema’s Paolo Bertolin, Meduza’s Anton Dolin and The Morning Star’s Rita Di Santo. It was the only title to receive solely positive scores of either four or three (good).

Behind the 3.3 score of Days was Christian Petzold’s Undine, with a 3.1 average.

The 3.4 score tops...

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,...

‘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.

‘The Woman Who Ran’, ‘Bad Tales’ score moderately.

Eliza Hittman’s Us drama Never Rarely Sometimes Always has become the runaway leader on Screen’s Berlin 2020 Competition jury grid.

The film achieved 3.4 - 0.3 ahead of the previous leader, Christian Petzold’s Undine.

This is also significantly ahead of the 3.0 for Synonyms and A Tale Of Three Sisters, the tied winners for 2019; and tops the 3.3 of 2018 winner Isle Of Dogs.

Segnocinema’s Paolo Bertolin, Meduza’s Anton Dolin and The Morning Star’s Rita Di Santo each gave it a top-score four (excellent), with the remaining three critics to have scored...

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...

Berlin-based boutique sales outfit M-Appeal has acquired erotic drama “Fidelity” (Vernost), a Russian female version of Steve McQueen’s “Shame.” Nigina Sayfullaeva’s film – a box-office hit at home for Sony Pictures – will have its international premiere at the Rotterdam Film Festival in January.

“Fidelity” centers on Lena, an obstetrician and gynecologist, and her husband Sergey, who is an actor in a provincial theater. Their relationship is tender and close, but devoid of sex. Lena suspects that he is having an affair, but she suffers in silence without letting her jealousy show. She starts cheating on him with random men, and slowly but surely, her infidelity spins out of control.

The film has attracted much comment in the media and social media in Russia, where the issue of female sexuality is less openly discussed than in the West. Russian film critic Anton Dolin said the film “is a revolution because...

Legendary singer Elton John has slammed Russian movie distributors after they censored his biopic "Rocketman" and excluded several scenes showing gay sex and affection from the film.

The singer and the makers of "Rocketman" issued a joint statement saying they rejected the censorship "in the strongest possible terms", reported people.com.

Also Read:?Rocketman Movie Review

"We reject in the strongest possible terms the decision to pander to local laws and censor 'Rocketman' for the Russian market, a move we were unaware of until today," the statement read.

"Paramount Pictures have been brave and bold partners in allowing us to create a film which is a true representation of Elton's extraordinary life, warts and all," the statement continued.

"That the local distributor has edited out certain scenes, denying the audience the opportunity to see the film as it was intended is a sad reflection of the divided world...

Elton John is slamming Russian movie distributors after they censored Rocketman and excluded several scenes showing gay sex and affection from the film.

In a joint statement obtained by People, the 72-year-old singer and the filmmakers of the musical biopic stated, “We reject in the strongest possible terms the decision to pander to local laws and censor Rocketman for the Russian market, a move we were unaware of until today.”

“Paramount Pictures have been brave and bold partners in allowing us to create a film which is a true representation of Elton’s extraordinary life, warts and all,” the statement continued.

Elton John and the filmmakers behind Rocketman released a joint statement protesting reports that Russian censors were editing scenes of homosexuality out of the biopic. The film contains imagery of men undressing and kissing, having sex and participating in a fantasy orgy.

“We reject in the strongest possible terms the decision to pander to local laws and censor Rocketman for the Russian market, a move we were unaware of until today,” the statement reads.

“Paramount Pictures have been brave and bold partners in allowing us to create a film which...

Elton John and the filmmakers behind the biopic on his life “Rocketman” have condemned the censorship of their film in Russian theaters, in which the local distributor removed “certain scenes” that the filmmakers say is “cruelly unaccepting of the love between two people.”

John is seen in a sex scene with another man in the film, and the singer is openly gay. The Guardian reported earlier Friday that a local Russian distributor cut all scenes featuring gay sex or men kissing due to Russian laws banning “homosexual propaganda,” an estimated five minutes of total footage.

John and the filmmakers said that they were unaware of the changes until today.

Also Read: 'Rocketman:' What Was Elton John's Real Troubadour Concert Like?

“We reject in the strongest possible terms the decision to pander to local laws and censor ‘Rocketman’ for the Russian market, a move we were unaware of until today,...

When Russian moviegoers turn out to see Dexter Fletcher’s lauded Elton John biopic “Rocketman” in the coming weeks, they will not be getting the full picture. The Guardian reports that the Taron Egerton-starring musical has been cut by an estimated five minutes due to Russia’s laws banning “homosexual propaganda.” The outlet reports that popular Russian film critic Anton Dolin took to Facebook after seeing the film in Russia (and after seeing its original version earlier this month), commenting that “all scenes with kissing, sex and oral sex between men have been cut out.”

Dolin added that “the nastiest part is that the final caption has been removed from the finale,” referring to a final sequence that offers updates on John’s life today and of course includes mentions of John with his real-life husband, David Furnish, and a note on how the pair are happily raising their two children together.