Berlinale Daily Bites 6-16 February 2014

February 20th, 2014
Author: Meredith Taylor

D A Y    O N E

20148109_1

KUMIKO, THE TREASURE HUNTER *** The surreal collides with the banal in Nathan and David Kellner’s genre-blurring black comedy drama, in which David Kellner also stars. Kumiko, a doltishly passive Japanese woman, abandons her dull life in Tokyo to travel to snowbound Minnesota on the strength of an imagined treasure trove she sees buried in a film, aided and abetted by the kindness of narrow-minded strangers who help her on her mission. If you can suspend your disbelief and tune into the weird humour, this is a work of inspired genius and well-planned eccentricity: Alexander Payne put his money into it and the Kellner Brothers’ drama has shades of Joel and Ethan Coen about it. MT  105min  FORUM

The_Grand_Budapest_Hotel.jpg_rgb copyTHE GRAND BUDAPEST HOTEL ****   SILVER BEAR, GRAND JURY PRIZE

Ralph Fiennes is pure magic as Gustav H, a legendary lothario and eloquent hotel manager in this witty, whimsical and very European tale within a fairytale, inspired by the Gorlitzer Warenhaus on the Polish/Czech border (which is currently being renovated) in a fictional Republic of Zubrowka.  Written and directed by Texan Wes Anderson, it’s probably his finest film to date: perfectly scripted, beautifully acted by an assembled cast of Tilda Swinton, (who must be the most elegant and ethereal woman on the planet) Lea Seydoux, Jude Law, Matthieu Almaric, Bill Murray, Adrien Brody, Saoirse Ronan and newcomer Tony Revolori (as the young Zero M); it’s also gorgeous to watch with its candy-coloured aesthetic and fairytale sets.  Appealing to all ages, despite moments of scary violence, it tells the story of how the hotel came to be handed down to Zero Mustafa via a rich and riotous history. MT  World Premiere IN COMPETITION  100mins

20142188_1 copyIn Josephine Decker’s debut feature BUTTER ON THE LATCH, we first meet the central character Sarah, when she stumbles around dreamily in Brooklyn and sleeps with a man she picked up in a nightclub. Suddenly, she appears again at a summer festival of Balkan folk music in some woods near Mendecino, California. There she seems at first to settle down with girlfriend Isolde, but then the two get lost in a wood and nearly set it on fire. Exchanging intimacies and secrets, the two become become increasingly closer, but something is worryingly wrong with Sarah. We might connect her otherworldliness with the Balkan stories of people beings possessed by dangerous animals, like dragons (clearly shades of Tourneur’s Cat People). But before we are able to guess further, Sarah suddenly turns to the young Steph, but their relationship culminates into a dramatic and violent end near a lake in this inventive, dreamy, fantasy horror.  See full review

D  A Y   T W O

20142060_5 copyJACK ****  A leafy Berlin is the setting for Edvard Berger’s touching drama underpinned by newcomer Ivo Pietzcker’s performance of tear-swelling poignancy as Jack, a little boy left in charge of his half-brother, when their feckless mother abandons them.  Sensitive and filmic, it’s an old-fashioned portrait of childhood anxiety that echoes The Kid With A Bike; and shows that kids are sometimes far more intelligent than we give them credit for but also that responsibility and self-reliance can be the making of them. MT. 104 MIN  GERMANY. IN COMPETITION

20140777_1’71 ****  TV director Yann Demange (Top Boy) has chosen the bitter conflict in Northern Ireland as the subject of his feature debut ’71, setting his tightly-plotted narrative from the perspective of a young British soldier (Jack O’Connell) left behind by his unit following a street riot. The memory of the terrible internecine warring is brought back with visual clarity and some of the best street combat scenes ever committed to film.  Demange has masterful control of his subject-matter and delivers an utterly gripping thriller with a strong central performance from Jack Connell (This is England) and a superb all-British cast including Sean Harris, Sam Hazeldine and Paul Anderson MT 99min UK  IN COMPETITION.

20144685_1TWO MEN IN TOWN **

Rachid Bouchareb’s is an award-winning filmmaker known for LONDON RIVER, picking up a Silver Bear Award at Berlinale 2009.  Here he casts Brenda Blethyn as a lil’ ol’ Kansas probation officer who sets out to assist Forest Whitaker’s reformed convict, Garnett, in a small community near the Mexican Border. Recently converted to Islam, Garnett does his best to make a go off things but Harvey Keitel is determined to put a spanner in the works, as the local sheriff, so we know the outcome of this story before the get-go. Despite some filmic moments and an experienced cast, it feels about as plausible as Jesus coming down from the cross. MT  120mins  IN COMPETITION.

D A Y   T H R E E

AMMA & APPPA (2014) ***

Franziska Schonenberger’s debut documentary is a part-animated story of twenty-somethings who meet at University and fall in love.  Across the cultural divide of his strict Tamil parents, who envisaged an arranged marriage, and her homespun Bavarian background; a touching and immersive story emerges which is really a doc-style Meet the Parents, with some equally hilarious moments.  MT 89 min Panorama Germany

Free Range copyFREE RANGE- Ballad on Approving of the World  ** (2013)

Fred is a chain-smoking pseudo-intellectual with a high opinion of himself. After losing his job as a deliberately abusive film journalist and mindful of looming fatherhood, he turns his hand to working in a timber factory with equally disastrious results. Veiko Ounpuu’s bleached- out, grainy visuals evoke the lemon n lime beauty of the Estonian spring to great effect in this sardonic drama which is accompanied by an eclectic soundtrack of hits from ‘The Smiths’ among others, but it’s difficult to care what happens to Ounpuu’s unappealing characters who never really feel authentic or to engage with his facile narrative. MT  104min. Estonia. Forum Expanded

20143250_2 copySTO SPITI (2014) At Home (2013) ***

The stunning coastal location and elegant summery visuals of Athanasios Karanicolas’s serene feature debut bely the melancholic nature of his narrative that follows a wealthy Greek family who are finding ends increasingly difficult to meet in the financial crisis. When their long- term Georgian housekeeper falls sicks it’s clear that life will have to change but also rather predictable in the way it does. So no surprises here but certainly some applause for this well-crafted and promising film. Maria Kallimani gives a performance of great subtlety in the central role. MT. 103min  Greece/Georgia. Forum Expanded

20147918_7 copyTHE MONUMENTS MEN (2014) ***

George Clooney has made a brave and well-intentioned bid to shine a light on one of the most important episodes of Art history – the looting of art treasures by the Nazis during their retreat during the Second World War. The result, in which he also stars as art historian Frank Stokes, (a fictionalised version of George Stout) along with a fine cast of Matt Damon, Jean Dujardin, Bill Murray, and High Bonneville, is rather too worthy for its own good. This is his 5th big screen outing and sees him and his colleagues setting out to France in 1944 where they discover  the Russians are also hot on the trail, and intend to keep to uncovered treasure as spoils. Cate Blanchett is remarkable as a bluestocking curator under the Nazis, who at first is unwilling to cooperate but finally falls for Damon’s charms. The search goes underground and there is much ranting and raving in rhetoric about the supreme value of Art, as if Clooney underestimates his audience, although naturally he has the best orating.  Production values are slick and strong and Alexandre Desplat’s score is well-pitched and moving, but ultimately this is a rather artless drama that sacrifices suspense for altruism. MT,  120mins  US IN COMPETITION

D A Y   F O U R

PatardzlebiBLIND DATES (2014) ***

Levan Koguashvili’s follow-up to STREET DAYS (2010) is another tale of contemporary Georgian folk with particular emphasis on womens’ issues in this male-dominated culture. Unexpectedly funny and feisty, it explores young hopes versus old ways in the crumbling splendour of Tbilisi through a tentative romance between 40 year old bachelor Sandro and a woman whose husband has just been released from prison. MT 95 mins. Georgia. Forum

20142588_3 copyHISTORY OF FEAR (2014) **

Random acts of violence, criminal activity and hostility between neighbours punctuate a hot summer in down-town Buenos Aires. Benjamin Naishtat’s first full-length drama strings together a series of interconnecting events in an attempt to evoke a climate of uncertainty and paranoia but leaves the audience bewildered and disengaged in the process. Ultimately he offers no reason for us to feel anything for his characters despite their plight and his narrative drifts aimlessly without a really immersive plot-line in the chaos.  MT Argentina. 79mins IN COMPETITION

20148131_5 copyNYMPHOMANIAC 1 *****- Director’s Cut

The entire, director’s cut version of Lars von Trier’s culminating segment of his ‘Melancholy’ trio that began with ANTICHRIST and MELANCHOLIA leaves in some minor footage and artistic flourishes but fails to add anything to the plot, ultimately rather than gilding the lily it actually detracts from the piquancy of his brilliantly enigmatic narrative. 145mins  See our review

The Two Faces of January THE TWO FACES OF JANUARY (2013) *****

With a narrative based on the novel by Patricia Highsmith, this long-awaited debut feature from DRIVE screenwriter Hossein Amini is a lavish affair set in sixties Greece. And what could go wrong with such a fabulous cast, magical sets, gorgeous tailoring and a romantic original score by? The answer is nothing! One of the most gripping and sophisticated thrillers for some time, THE TWO FACES OF JANUARY stars Viggo Mortensen and Kirsten Dunst as an American married couple, the MacFarlands, and Oscar Isaac (Llewyn Davis) as their tour guide, Rydal. After meeting up in by chance in Athens, a tragic accident forces the trio to flee to the islands whence they embark on a dangerously eventful journey that ends in  tragedy for all concerned. 96min UK USA France

D A Y   F  I V E 

20141257_1 copyIN ORDER OF DISAPPEARANCE (2014) *** 

Bruno ganz and Stellan Skarsgard star in Hans Petter Moland’s dark comedy follow-up to A SOMEWHAT GENTLE MAN (2010) has some of the best snowscapes that you’ll probably see this year and also possibly the most unapologetically un-politically incorrect script. Skarsgard plays, Nils, a Swedish man living in Norway who drives a snow plow and has just been award ‘Best Citizen’. But when his son dies in a drug overdose, Nils turns vigilante to find out who is responsible.  That said, the tone is light-hearted: Moland wanted s narrative reflecting what happens when society’s attributes of decency get mixed up with the baser instincts that kick in when we are threatened: “Norway has a history of being generous to people in need but now this is being challenged” he said at the press conference. The comedic style was the best way to deal with this theme positively.  “Violence lurks within us and occasionally erupts in normal, well-adjusted people like Stellan’s character.”  What ensues is a brutally violent chase to track down the two rival gangs of traffickers: one Serbian (lead by Ganz as Papa), one local (lead by Pal Sverre at Greven).  There are some great gags that arise out of ‘ad-libbing’ rather than sticking rigidly to Kim Fupaz Aakeson script and give this piece a fresh and authentic feel, although 115mins is a tad long for this simple crime caper. MT  100min  Norway/Denmark  IN COMPETITION

_CALVARY copyCALVARY (2014) ***           ECUMENICAL PRIZE

A priest’s struggle when his life is threatened during a confession:”I first tasted a man’s semen when I was 7 years old”, is a metaphor for the continuing challenge The Church faces to retain a place of respect and succour in today’s society. Traditionally the bedrock of Irish communities, it gets a really rough ride in this black comedy that examines the role of the local priest amongst a group of characters in a small Sligo village, who have lost their way.  Gloriously set in this verdant Southern Irish county, Brendan Gleeson leads with a performance of rare dignity and integrity as the Father concerned , in this follow-up to THE GUARD.  Less comedic and that the former, CALVARY’s soul is a more brooding and desperate one, leavened by moments of gentle often caustic humour.  Pointing its finger at paedophilia amongst Church leaders,  it follows the tone of the recent PHILOMENA echoing documentaries such as Alex Gibney’s MEA MAXIMA CULPA.  For John Michael McDonagh it is a triumph and a far better drama than the recent and glib, SEVEN PSYCHOPATHS.  A superb all-Irish support cast of Kelly Reilly, Chris O’Dowd, Aidan Gillen, Dylan Moran and Isaac De Bankole make this thoughtful and trenchant second feature a rare pleasure that stays in the memory long afterwards. MT 100min  UK/Ireland  Panorama Special. 

LifeAIMER, BOIRE, CHANTER – THE LIFE OF RILEY (2014)       ALFRED BAUER PRIZE

For his 50th film, Alain Resnais adapts the work of Alan Ayckbourn in this stagey farce with garish theatrical sets and occasional glimpses of the leafy countryside of the Yorkshire Dales. Starring his wife Sabine Azema, Sandrine Kiberlain (Bird) Andre Dussollier and Hyppolyte Girardot, it’s just the sort of thing that older French audiences lap up but do we really need another stage adaptation (his third) of YOU AIN’T SEEN NOTHING YET?.  This turns out to have additional flourishes with drawings by French artist Blutch and puppetry to boot!  You know the story here – middle-aged, middle-class couples whose close friend is diagnosed with cancer. Or is he?  Mannered performances all round will appeal to his devotees. MT 107min  France IN COMPETITION

20142278_2 copyHUBA, PARASITE (2014)

The work of Polish filmmakers, Wilhelm and Anka Sasnal (IT LOOKS PRETTY FROM A DISTANCE)  focuses on simple lives of working people in the Polish countryside; their latest film is no different. A tender portrait of family closeness centres on an old factory worker and his daughter and her baby, who come to live with him.  Intimate in scale, daily rituals are viewed at close quarters with a ‘warts and all’ approach that provides an immersive and worthwhile testament to the continuing narrative of rural lives under threat in remote locations.  MT. 66min Poland  Panorama

D A Y   S I X 

20142433_4 copyPRAIA DO FUTURO (2014)

With some of the most captivating photography of Brazilian and Berlin skylines, Karim Ainouz’s filmic and leisurely-paced drama is sadly let down by poorly fleshed-out characterisation of its protagonists, who we hardly get to know at all.  Appearances can be deceptive and we soon find out that Praia do Futuro is one of the most beautiful but deadly beaches in Brazil. It also has the saltiest water, making it a hostile environment for living in.  When his friend is drowned, a Brazilian lifeguard follows his lover back to Berlin to discover a new life that’s both liberating and bewildering. Ainouz creates a palpable sense of place and identity but sadly the narrative floats untethered in a sea of plotholes with not enough momentum or feeling for his characters or their lives to carry it through to a meaningful conclusion. MT 106mins. Brazil/Germany  In COMPETITION

20148119_1SOUVENIR (2014)

German photographer Alfred Diebold disappeared during an Arctic cruise in 2009 leaving a massive collection of videos archiving his peripatetic life as an attention-seeking traveller, husband and politically engaged also-ran. André Siegers doc looks back at his footage (407 videos in all) but despite some moving moments from Alfred’s intimate family life, it’s difficult to work out why he considered this film worthy of the public domain (let alone financing) as it is neither involving, visually inventive nor particularly interesting from a historical point of view. Maybe a German audience would feel more empathy with the subject-matter. MT 81mins Russia/Germany Forum

20142517_2 copyTO MIKRI PSARI – STRATOS (2014)

Although not particularly intended as such, Yannis Economides’ drama serves as a metaphor for the parlous state of moral and physical decline that Greece has suffered over the past several decades.  In STRATOS communities are breaking down, buildings have fallen into disrepair and parks are overrun with weeds. Even felons are at each others throats, overworked by the burden of debt-fuelled crime in their neighbourhoods.  Economides’ narrative steadily builds into a caustically angry thriller involving local low-lives and their families. Tightly-plotted: the story is told through a series of one to one to conversations between the fellow criminal fraternity that grow in vehemence, and focus on the gang-leader in jail.  The story is told from the point of view of Stratos, (well-played by Vangelis Mourikis), a wealthy local crim who is called upon to finance the release of the gang-leader and in so doing is drawn further into a web of lies, deceit and paedophilia. Cracking performances from the support cast and Babis Papadopoulos’ edgy score help create a feeling or menace and desperation throughout. MT 136 min  GREECE  IN COMPETITION

D A Y   S E V E N

20142336_2 copyTHE THIRD SIDE OF THE RIVER  ***

‘Another Us and Them’ drama from Argentina. This time Celina Murga delivers a soft-focus, slow-burner about an affluent family in Buenos Aires, seen through the increasingly critical eyes of the eldest son. This disapproval of his father’s dominating ways gradually leads to a startling epiphany in this melancholic tale of a boy who is forced into responsibility at a young age. Not sure why Martin Scorsese gave this his ‘seal of approval’? Wait a minute – was his money involved? : yes Siree!. Nonetheless, this is a decent story, well-told and well-acted but hardly anything to write home about as a competition headliner. Spain. 104mins In COMPETITION

GUIDELINES: Le Marche a Suivre *

Jean-Francois Caissy fails to flag up any changes in the way kids are and always will behave in the classroom and out of it. His tame documentary kicks off, for some reason, rather promisingly with a car trying to cross a ford with difficulty.  Are we in for an exciting adventure? No, this is a predictable affair that focuses on a group of kids in the Canadian province of Quebec. Nicolas Canniccioni’s bland camera-work explores how they interact with each other with close-up one to one interviews intercut with images of the playground and ‘environs’  in and out of the school (i.e. the lens zoom in on a lock, and then a group of kids playing ball, there are frequent ‘black screen moments’).  Visually uninventive, and for the most part repetitive: it nevertheless provides a living testament for the parents involved and those interested in the subtleties of paediatric psychology. MT 76min. French Forum

20147700_1 ALOFT ***

Stunningly shot on the widescreen, this dreamily poetic Canadian drama from 2009 Golden Bear winner Claudia Llosa (from Peru) ‘boasts’ Jennifer Connelly, Cillian Murphy and Melanie Laurent in its star line-up.  Told in fractured narrative style, it follows the central character Ivan (Murphy) as a child and as an adult as he sets out to find his mother who left after a family tragedy to develop her skills as a healer in the Arctic Circle.  Llosa’s highly creative camerawork evokes the enigmatic feel of this drama which is intimate in style yet deep and immersive in its scope and subject matter. There are sensitive performances from Murphy and Connelly as they portray a close son and mother relationship. 112min Spain Canada France. In competition 114min  Canada,  IN COMPETITION

20143347_3BLACK COAL, THIN ICE ***    GOLDEN BEAR WINNER, SILVER BEAR – BEST ACTOR

Chinese director, Yi’nan Diao offers an inventive drama set in a snowbound industrial landscape where body parts appear regularly on asphalt trucks heading off to furnish the country’s burgeoning building boom.  A former policeman turns vigilante in a bid to trace the perpetrator and falls in love with a mysterious woman who seems to be connected to the crimes. MT 106min  World Premiere  China/Mandarin  

D A Y    E I G H T  

20143897_2 copyNO MANS LAND Wu Ren Qu (2013) ***

 

Ning Hao’s follow up to is a slick parable about a society that has completely lost its moral compass in a struggle for wealth and prosperity in the modern world.  In a cheap Chinese car, a cocky lawyer sets off across a rugged Taklamakan desert populated by weird and dangerous wayfarers on his journey to a trial.  Visually and technically superb Ning Hao has excised the heart from his action drama, where men are macho and women are still looking for a hero to rescue them. There aint any here,  but then its really just abit of fun and a homage to Sergio Leone’s epic desert westerns minus the great performances the the killer soundtrack. That said, there are brilliant moments in this desert. of MT 119min Republic of China Mandarin COMPETITION

20148190_1BOYHOOD (2014) *****     SILVER BEAR, BEST DIRECTOR

Richard Linklater is popular in Berlin. Last year he collected an Honorary Bear and here’s back this year with Sundance break-out hit: BOYHOOD.  Following the life of Mason from five until eighteen it stars Ellar Coltrane in the leading role with Linklater’s regular collaborator on the series Ethan Hawke, it authentically captures these years of growing up into an immersive and moving drama that runs for nearly 3 hours. Although this will make it a headache for cinemas, it is elegantly paced, engagingly scripted and performed with seamless authenticity by Mason and his extended family and friends, amongst whom by Patricia Arquette as his mother and Tamara Jolaine, as his sister, particularly shine .  Ethan Hawke brings to his performance the same laid-back charm that he works so well in the Midnight Trilogy.  In order to achieve the subtle changes in the characters, Linklater began the project in 2002, with the crew getting together annually to film the developing story.  This isn’t the perfect childhood, but it’s warm, witty and deeply-felt and stands as a record of turn of the century interpersonal relationships and family life in the Western World.  This is drama that will be the talk of filmlovers for quite some time. MT 166min  US Drama COMPETITION

20143562_3 copyTHE FOREST IS LIKE THE MOUNTAINS (2014) ****

This quietly observed and beautifully filmed documentary was one of the standouts of this year’s Berlinale.  Debut Directors Christiane Schmidt and Didier Guillain spent some time in the enchanting mountain setting of Sfantu Gheorghe, central Romania, with a community of Roma people. Living a self-regulated existence and avoiding interaction with the Establishment except when their annual potato harvest is sold to the local council, they follow the Seventh Adventist Faith, trusting in the spirit of a supportive and intuitive community and Christian prayer for guidance. Aron Lingurar is the self-appointed head of the village, commanding respect as the ‘governor’ he is a man of integrity who runs the show and instills a sense of respect amongst his people.  Christiane Schmidt’s sublime cinematography and clever eye for colour and framing make this a joy to watch and with a total absence of sound, apart from natural dialogue, it is serene experience to behold.  It would seem we have much to learn from these people. MT 101min  Romania/France/Germany  Drama  Forum

D A Y   N I N E

TriptyqueTRYPTYCH ****Canadian filmmakers have brought some great films to the Berlinale this year and this avantgarde piece from Pedro Pires and Robert Lepage is one of the best. Well-known for his theatrical work, Robert Lepage excels here with a transgenre drama that follows the lives of three interconnecting characters, sisters Marie and Michelle and Thomas, Marie’s soon to be partner. In an snowy timeless Quebec, Michelle, a book specialist, is recovering from depression. Michelle arrives to announce her marriage to Thomas, a brain surgeon. Dreamlike sepia-tinged visuals, unsettling characterisation and an eclectic score of jazz and classical music combine with Lepage’s unique approach make this an experience not to be missed. Sombre in tone, TRYPTYCH alludes to the deep melancholy of ageing, loss and illness. Lepage evokes a strong sense of the Quebec and Montreal but it is timeless in feel. MT 94min. Canada French/English

20141359_4 copyLA BELLE ET LA BETTE (2014) ****

Jean Cocteau’s gothic horror original was an pioneering piece of magic made when he turned his hand to filmmaking during WWII. With very limited resources, the result was enchanting and eerie. Even with a large budget (and filmed in Babelsberg where Metropolis and The Blue Angel were shot) this doesnt engender the same mystique but is a lavishly-imagined if over-the-top frolic from Christophe Gans that spans both Renaissance and Napoleonic eras. It has Lea Seydoux as a gentle Belle and Vincent Cassel as her fiercely masculine Beau yet elegantly pathetic Beast – essentially an asshole who turns into a nice guy. Andre Dessollier is strong as the kindly father. Because all the leads were versed in mime and method acting the piece really benefits from their acting chops and makes it a success, if you can overlook the overzealous CGI. Narrative-wise Gans has developed Cocteau’s original here, with co-writer Sandra Vo-Anh adhering faithfully to Madame de Villeneuve’s book to explore the origins of the Prince’s curse and its connections with the forces of nature. The result is more a chilldrens’ fairytale than Cocteau’s enchanting and subversive outing but there are some dark moments too. MT. 111min. In COMPETITION (out of competition)

the Little House copyTHE LITTLE HOUSE ***    SILVER BEAR, BEST ACTRESS

There’s something very sweet and old-fashioned about this Japanese domestic drama set in Wartime Tokyo. Taki (Haru Kuroki, who won Best Actress) looks back on her life as a maid in a well-to-do household (the red-roofed little house) echoing the previous Tokyo Family in tone. Now as an old woman, she tells her grandson in flashback what was really happening at home while the fighting was going on in the cities. There’s a genteel ‘soap-like’ quality to the drama and also shades of Hayao     Miyazaki’s recent THE WIND RISES to the storyline. But forget WWII, this really concerns the emotional yearnings of women in a society where men have the upper hand and the State dictates how society should conduct itself. Based on a novel by Kyoko Nakajima, THE LITTLE HOUSE quite literally explores the discrete charm of the bourgeoisie. Taki nurses the infant son through polio while also serves as a companion to the beautiful wife, Tokiko. The narrative shifts backwards and forwards from 1936 to the present, eventually engaging our attention as we witness the Tokiko’s affair with her husband’s colleague, a young and timid architect who doesn’t exactly set the night of fire, but buys into to her endless drivel. Engaging and demure, it may appeal to more traditional art house audiences for its quaint performances but lacks the romantic thrust or erotic charge to garner mainstream indie fans. MT  136min  Japanese  COMPETITION

photo-2A N D   T H E    W I N N E R S   A R E:

GOLDEN BEAR FOR BEST FILM

Bai Ri Yan Huo Black Coal, Thin Ice by Diao Yinan

SILVER BEAR GRAND JURY PRIZE

The Grand Budapest Hotel The Grand Budapest Hotel by Wes Anderson

SILVER BEAR ALFRED BAUER PRIZE for a feature film that opens new perspectives

Aimer, boire et chanter Life of Riley
by Alain Resnais

SILVER BEAR FOR BEST DIRECTOR Richard Linklater for

Boyhood (Boyhood)

SILVER BEAR FOR BEST ACTRESS

Haru Kuroki in
Chiisai Ouchi (The Little House) by Yoji Yamada

SILVER BEAR FOR BEST ACTOR

Liao Fan in Bai Ri Yan Huo (Black Coal, Thin Ice) by Diao Yinan

SILVER BEAR FOR BEST SCRIPT

Dietrich Brüggemann, Anna Brüggemann for Kreuzweg (Stations of the Cross) by Dietrich Brüggemann

SILVER BEAR FOR OUTSTANDING ARTISTIC CONTRIBUTION

in the categories camera, editing, music score, costume or set design

Zeng Jian for the camera in
Tui Na (Blind Massage) by Lou Ye

BEST FIRST FEATURE AWARD

Güeros
Güeros
by Alonso Ruizpalacios

FOR MORE COVERAGE ON THE BERLINALE 2014 .  FOR MORE IMAGES AND VIDEOS VISIT THE OFFICIAL WEBSITE 

 

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