Who is in with a chance of picking up the Golden Bear? What issues are young filmmakers around the world interested in? International bloggers and film journalists are following the Berlinale.
Yang Chao's "Crosscurrent", the only Chinese film in the Competition section this year, is a road movie on a boat, where atmosphere and imagery override narrative and characterisation.
Photo (detail): "Arkaden Berlinale" (CC BY-SA 2.0) by Nikos Roussos, @flickr.com
While we indulge ourselves in inspiring cinemas curated all over the world, Berlinale is also a period when everything feels a bit different.
© Bradley Liew
Eight hours might seem like a long time for a film, but Lav Diaz's "Hele Sa Hiwagang Hapis" proves the extreme beauty of cinema as an art of time.
Photo (detail): DEFA-Stiftung, © DEFA-Stiftung/Eberhard Daßdorf
This year’s Retrospective features an interesting comparison of 1966 films from East and West Germany.
The 66th Berlinale 2016 started with disappointingly few competition entries from female directors – only two of the 21 submissions.
Director: Jordan Schiele
San Fu Tian is an impressive piece of new Chinese cinema made by New York filmmaker, Jordan Schiele. This interview which was done while switching back and forth from English to Chinese was a fantastic cross-cultural experience.
Photo (detail): © pong
The Forum section features two films by the German director Philip Scheffner. Both are about fleeing and migration – from an unusual perspective.
Photo (detail): © pa-picture alliance
As a cameraman Michael Ballhaus made cinema history. On 12 April 2017 he died in Berlin at the age of 81 years. At the 2016 Berlinale he was awarded an Honorary Golden Bear. At that time, goethe.de interviewed the native Berliner about his extraordinary career.
© Kong Desheng
Contrary to last year's “Gone with the Bullets” (一步之遥) which celebrates the collective and the pompous, we see several Chinese films this year which delve deep into the world of the outcast and the banal.
Director: Wang Bing, © Asian Shadows
Both under the context of the fight between Burmese government army and Kachin independence army, the director Midi Z. follows his brother into an illegal jade mine in Burma, whereas Wang Bing documents a group of Ta'ang people fleeing war at the China-Burma border.
© Taiwan Film Institute
With a Hou Hsiao-hsien retrospective and Berlinale's world premiere of the restored version of “Daughter of the Nile”, Berlin is ready to fall in love with Hou this winter.
2016 starts well for Chinese-language cinema, burgeoning with an impressive range of subject matters and visual style and full of surprises from new filmmakers.