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davidhudson · 4 months

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Happy 56th, Valeska Grisebach.

Illustration by Monica Barengo.

#valeska grisebach #monica barengo #cinema #film #movies

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icedteadrinker · 4 months

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Western (2017) dir. Valeska Grisebach

#western #western 2017 #valeska grisebach #movieposting #my gifs #german cinema #meinhard neumann

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ladysfingers · 5 months

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Western

2017

#Valeska Grisebach

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stephstans · 1 year

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First looks of the international jury president Kristen Stewart along with the jury members Golden Bear winner Radu Jude, German filmmaker Valeska Grisebach, Spanish director Carla Simón, Francine Maisler, legendary Hong Kong icon Johnnie To, Iranian/French actor Golshifteh Farahani.

Federal Chancellor Olaf Scholz and Minister of State for Culture Claudia Roth welcomed the international jury to the Chancellery.

Photo: © Dirk Michael Deckbar / Berlinale 2023.

#kristen stewart #the acclaimed #actress #berlinale 2023 #International Jury President

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delectablywaywardbeard-blog · 1 year

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Festival di Berlino 2023, Orso d’oro a ‘Sur l’Adamant’ di Nicolas Philibert

Famiglie in crisi, ma soprattutto cinema europeo, in particolare francese e spagnolo dominano la serata delle premiazioni della 73esima edizione del Festival di Berlino. Un’edizione sempre diretta dall’italiano Carlo Chatrian, giuria presieduta da Kristen Stewart sempre molto spigliata, e che vantava come giurati Goldshifteh Farahani, Johnnie To, Radu Jude, Valeska Grisebach, Francine Maisler,…

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whileiamdying · 1 year

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Golshifteh Farahani Talks Role Of Art In Iran: “In A Dictatorship Like Iran, Art Is Essential, It’s Like Oxygen” – Berlin Film Festival

By Melanie Goodfellow Senior International Film Correspondent February 16, 2023 4:35am

Golshifteh Farahani Stephane Cardinale - Corbis/Corbis via Getty Images

Iranian actress Golshifteh Farahani, who is at the Berlin Film Festival as a member of Kristen Stewart’s jury, has talked passionately about the importance of art in her native country as an antidote to its repressive government.

“In a country, like Iran, which is a dictatorship, art is not only an intellectual or philosophical thing, it’s essential, it’s like oxygen,” she said at the festival’s opening press conference.

“Doing art and being an artist is something that goes beyond, because your existence, by being an artist, is put into danger.”

Iran’s authoritarian government has long persecuted professionals in the country’s creative community when they stepped out of line with its hardline Islamist views and policies.

The repression has ratcheted up over the last year. A brutal crackdown on freedom of expression, that preceded the recent protests, saw Berlinale Golden Bear winners Jafar Panahi and Mohammad Rasoulof jailed for more than six months.

Both men were recently released on bail but a number of less internationally renowned filmmakers and artists remain behind bars.

Farahani has been living in France since 2012.

She was declared persona non grata back home and forced to flee after she got on the wrong side of Iran’s repressive Islamic Republic regime for taking a role in Ridley Scott’s 2008 spy thriller Body Of Lies, appearing without a hijab, and then later posing nude for French magazine Madame Figaro.

Farahani now regularly works between Europe and the U.S. with more credits including Peterson, Pirates Of The Caribbean: Salazar’s Revenge, Girls Of The Sun, Arab Blues and Extraction.

The actress was last at the Berlinale in 2009 as the lead actress in Asghar Farhadi’s drama About Elly, for which he won the Silver Bear for Best Director.

She later accused Farhadi of stopping her from walking the Berlinale’s red carpet with the rest of the film team due to the controversy she was facing back home over Body Of Lies.

The director has denied the accusations saying Farahani stood separately on the red carpet out of her own volution.

“I’m very happy to be here with you,” Farahani told Thursday’s press conference.

“I came here in 2009 and it was a very different year. It’s very symbolic to be in Berlin. Berlin is the city that broke the wall, the actual wall, towards equality, freedom, and brought so many people together,” she said.

“This year with Ukraine, with Iran and the earthquake, it feels like the whole world is disintegrating,” she said. “With everything that is happening in Iran, being back in Berlin after all these years, I’m happy that we can gather together and celebrate cinema, celebrate freedom, even though the world seems to be collapsing everywhere.”

The Berlin Film Festival’s international jury, presided over by actress Stewart, also features German director Valeska Grisebach, Romanian director Radu Jude, US casting director and producer Francine Maisler, Spanish director Carla Simón, and iconic Hong Kong director and producer Johnnie To.

#golshifteh farahani #iran #cinema #berlinale #jafar panahi #mohammad rasoulof

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deadlinecom · 1 year

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dclblog · 1 year

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Wann kommst du meine Wunden küssen? (O-Ton)...

...lässt drei Frauen und einen Mann mit gemeinsamer Geschichte, aber sehr unterschiedlichen Lebenskonzepten, Träumen und Dämonen auf einem Hof im Schwarzwald zusammenkommen, was zu heftigen Konflikten, aber auch Momenten von echter Innigkeit, Empathie, Liebe und trotziger Solidarität führt.

Regisseurin Hanna Doose bedient sich in vollen Zügen der Tricks der Mumblecore-Bewegung, indem sie ein Drehbuch und einen klar festgelegten Plan zum Ablauf des Plots, aber keinerlei Dialoge vorgibt, welche dann vom Ensemble komplett improvisiert werden, eine Methode, die hier deutlich spürbar anfangs ein paar Hürden, aber insgesamt immense Chancen mit sich bringt.

In der Exposition des Filmes wirkt es ein bisschen, als müsste ein virtuoses Orchester erst noch die Instrumente stimmen, bevor es losgehen kann - die Agierenden scheinen sich noch nicht in Gänze warm gespielt zu haben, es wird noch viel lapidar übereinander geredet, was manche authentisch finden mögen, ich eher unbeholfen, und es fällt bisweilen arg auf, dass bestimmte Infos nur gegeben werden, damit wir sie mitbekommen, was haarscharf an der Grenze zum Soapigen schrammt.

Aber dann!

Wie als hätte sich bei allen Beteiligten etwas angestaut, platzt irgendwann der Knoten und die geneigten Zusehenden werden mit einem deutschen Schauspiel beglückt, dass so pur und frei und echt ist, dass ich ihm zurufen möchte: wo warst du all die Jahre? Da wird gelacht, geweint, geschrien und gesungen und ich glaube jede Silbe, da wird alles plötzlich auch in den Dialogen so meisterhaft, wie es Doose zuvor bereits in den unglaublich cineastischen Naturaufnahmen und wunderbar intimen wortlosen Momenten zwischen den Figuren einzufangen wusste, da erreicht das Spiel der Profis bisweilen gar die Authentizität der atemberaubenden Laien in Valeska Grisebachs "Western" (nein, ich lasse keine Gelegenheit aus, dieses Meisterwerk in meine Kritiken einzubauen), da sehe ich Anflüge von echtem "Show, don't tell" und Nuancen im Spiel, welche erst im Nachhinein Sinn ergeben, zwei Konzepte, nach denen ich mich im deutschen Film so oft sehne, da kann ich nach anfänglicher Verwunderung voll und ganz verstehen, warum dieser Film beim Filmfest München den Publikumspreis bekam und da wünsche ich mir sehr noch irgendeine preisliche Würdigung für Gina Henkel, die so naturgewaltig und tief berührend aufspielt, dass ich mit ihrer Performance allein wieder aufgewacht bin.

"Wann kommst du meine Wunden küssen?" ist ein wunderbares deutsches Drama, nicht ohne Startschwierigkeiten, aber ab einem bestimmten Punkt so voll von Leben und Liebe, dass ich am Ende schlicht hingerissen war.

D.C.L.

#chronicles of d.c.l.#filmkritik #spielfilm #kritik #wann kommst du meine wunden küssen #drama #hanna doose #d.c.l.#mumblecore

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fuckyeahwomenfilmdirectors · 3 years

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Hey! Do you know any Western films that are directed by women?

Do I!

Also I've been asked this question before and I'm glad to have another chance to answer it both because I have more films to add to the list but also because I used to strongly hate Westerns and now I sort of don't. Change is possible people!

I attribute my change of mind to Kelly Reichardt who has directed my two favourite Westerns ever: Meek's Cutoff and First Cow.

Going back a bit the reason I hate Westerns is because I hate classic American Westerns which came to define the genre. Like it's nice that some of them are beautifully made and everything but the romanticization and white washing of a particularly environmentally destructive, brutal, racist and sexist time in American history is always going to leave me feeling cold (also as a side or perhaps main note there are zero films from classic Westerns that were directed by women). What I appreciate about Reichardt's two westerns is how she explicitly wrestles with the racism during this time period (always through the lens of men of colour. Le sigh, women of colour as always get shafted in these films). There are limitations to where she goes but I think her examinations of race and racism are more successful than say, Sofia Coppola who is a director I think of as hyper conscious of race but who keeps fumbling the ball in her films when it comes to dealing with the topic.

That was a long tangent!

YMMV but The Nightingale (Jennifer Kent) is a decent Western too. Major, major, major TW: for rape and violence with that one though. I never see anyone mention it ever but Western dir. Valeska Grisebach is a really brilliant modern Western set in Europe. I mean it's really weird that despite the title I never see anyone actually call it a Western film even though so many of the classic tropes (examinations of masculinity, borders, culture clashes e.g. the things that interest me in most Westerns) are all there. It's a really slow reflective film and I've never seen anyone talk about it but I really enjoyed it and thought it was beautiful and well done.

Films I don't think of as Westerns but are often classified as such are Little Woods dir. Nia DaCosta, Near Dark dir. Kathryn Bigelow, and A Girl Walks Home Alone at Night dir. Ana Lily Amirpour.

Westerns directed by women I still haven't seen: The Ballad of Little Jo dir. Maggie Greenwald Mansfield, The Wind dir. Emma Tammi, Ravenous dir. Antonina Bird, Marlina the Murderer in Four Acts dir. Mouly Surya, Woman Walks Ahead dir. Susanna White.

Hope this helps!