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Though based on Friedrich Dürrenmatt’s 1958 crime novella The Pledge (which was also the source for Sean Penn’s 2001 film of the same name), György Fehér’s Twilight plays more like an existential horror film than a noir or police procedural. Indeed, the ins and outs of the investigation into the mysterious murder of a child are of little concern to Fehér, who crafts a mood piece that’s keyed to the aura of dread and despair that grips a community in the wake of this and other similar murders.

Set in a small, remote Hungarian town surrounded by vast hills and dense thickets of trees, Twilight exists in a sort of metaphorical purgatory. Throughout, the film’s spare black-and-white images, deliberate pacing, and glacial camera movements, coupled with the near-constant rumbling ambiance that dominates the soundtrack, brilliantly conjure how an unseen but ubiquitous evil haunts the townsfolk. Long tracking...

Though based on Friedrich Dürrenmatt’s 1958 crime novella The Pledge (which was also the source for Sean Penn’s 2001 film of the same name), György Fehér’s Twilight plays more like an existential horror film than a noir or police procedural. Indeed, the ins and outs of the investigation into the mysterious murder of a child are of little concern to Fehér, who crafts a mood piece that’s keyed to the aura of dread and despair that grips a community in the wake of this and other similar murders.

Set in a small, remote Hungarian town surrounded by vast hills and dense thickets of trees, Twilight exists in a sort of metaphorical purgatory. Throughout, the film’s spare black-and-white images, deliberate pacing, and glacial camera movements, coupled with the near-constant rumbling ambiance that dominates the soundtrack, brilliantly conjure how an unseen but ubiquitous evil haunts the townsfolk. Long tracking...

"You've got talent. There's a power in you... Don't mislead the youth." Screen Daily has released a festival promo trailer for a Hungarian indie drama titled Erasing Frank, marking the feature directorial debut of Hungarian filmmaker / novelist Gábor Fabricius. This is premiering in the Venice Critics' Week sidebar during the upcoming 2021 Venice Film Festival in the next few weeks, hence the trailer to build some buzz. It's set in 1983, behind the Iron Curtain in Budapest, starring Benjamin Fuchs as Frank – the singer of a punk band, who is taken by the police to a psychiatric hospital to silence him after he speaks out against a totalitarian regime. This also stars Andrea Waskovics, Kincsö Blénesi, István Lénárt, András Pál, Zsolt Zayzon, and Gerlóczy Zsigmond. Another invigorating film about how governments silence those they don't like, even artists, because they say the truth and always talk about what's wrong. Fight on, Frank.

This year’s Berlin International Film Festival will look a bit different this year, with a virtual edition taking place March 1-5 for industry and press, then a public, in-person edition kicking off in June.

The complete lineup has now been unveiled, including Céline Sciamma’s highly-anticipated Portrait of a Lady on Fire follow-up Petite Maman, a surprise new Hong Sang-soo feature, the latest work from Ryūsuke Hamaguchi, along with new projects by Radu Jude, Xavier Beauvois, Dominik Graf, Pietro Marcello, Ramon Zürcher & Silvan Zürcher, and more.

Check out each section below.

Competition Tiles

“Albatros” (Drift Away)

France

by Xavier Beauvois

with Jérémie Renier, Marie-Julie Maille, Victor Belmondo

“Babardeală cu buclucsau porno balamuc” (Bad Luck Banging or Loony Porn)

Romania/Luxemburg/Croatia/Czech Republic

by Radu Jude

with Katia Pascariu, Claudia Ieremia, Olimpia Mălai

“Fabian oder Der Gang vor die Hunde” (Fabian – Going to the Dogs)

Germany

by Dominik Graf

with Tom Schilling,...

Looking back on this still-young century makes clear that 2007 was a major time for cinematic happenings — and, on the basis of this retrospective, one we’re not quite through with ten years on. One’s mind might quickly flash to a few big titles that will be represented, but it is the plurality of both festival and theatrical premieres that truly surprises: late works from old masters, debuts from filmmakers who’ve since become some of our most-respected artists, and mid-career turning points that didn’t necessarily announce themselves as such at the time. Join us as an assembled team, many of whom were coming of age that year, takes on their favorites.

Upon the release of The Man from London, one might have been hard-pressed to consider Béla Tarr and his co-director Ágnes Hranitzky genre filmmakers beyond the broad designation of “European art house cinema.” While still fitting snugly...

Clone

Stars: Eva Green, Matt Smith, Lesley Manville, Peter Wight, István Lénárt, Hannah Murray | Written and Directed by Benedek Fliegauf

Originally called Womb, Clone seems to have had a name change to evoke more of a sensationalist reaction in people who may buy it, but in truth the original name says a lot more about the films subject and the opinions I have of it. Most people though will probably see the name Matt Smith and think Doctor Who. Don’t expect time travel in this film though; just a slightly harrowing story of love and loss.

When Rebecca and Thomas meet as children they become instant friendship and love soon blossoms. This is dealt a blow though when Rebecca moves away. Years later she returns and now as adults they rekindle their relationship as the love is still there. Disaster strikes once more as Thomas is killed but Rebecca...