Tribeca Film Festival starts on June 4th with an opening on music superstar Billy Joel. Directors Jessica Levin and Susan Lacy’s Billy Joel: And So It Goes charts the life of the New York City born singer.
The 23rd Tribeca Film Festival starts June 4th until June 15th from New York City. Stay tuned for our coverage.
Aside from the main Emerging Greeks Competition, the festival features other competitions and prizes. The Documentary Competition has six films competing for the prize, just like the main competition. Two featurettes are screening together in one program. First Milk, by Panagiotis Papafragkos, takes a more poetic stance for its expression. Farewell: And Suddenly Memory Began to Remember, by Ada Pitsou, looks at creativity after dementia. The subject here is the renowned Greek psychotherapist Toula Vlachoutsikou.
Stray Bodies by Elina Psykou looks at choices and laws regarding the body and dignity. Abortion, IVF and euthanasia now benefit from the trans-national salvation of the increasingly popular “medical tourism”. The film therefore becomes a medical road trip through Europe. Panellinion, directed by Spyros Mantzavinos and Kostas Antarachas, is set in a central Athens chess coffeehouse. It is also the setting for ghosts, obsession, solitude and madness.
Continuing the theme of personal health challenges is Loxy by Thanasis Kafetzis and Dimitris Zahos. Young Loxandra, who has Downs syndrome, signs an acting contract with the National Theater of Greece. In this, she becomes the first disabled person to do so. Leaving her city and everyday life behind, she travels to Athens to fulfill this ambition.
Finally, Tack by Vania Turner, is a documentary on the Olympian who pioneered Greece’s #MeToo movement. Sofia Bekatorou, the 2004 Olympic Gold Medalist for Sailing, was a victim of abuse. In this film she helps a young athlete Amalia through her own ordeal. Amalia is seeking justice for the systematic abuse she endured at the hands of her coach. This happened when she was just eleven-years-old, and with Sofia’s help she has finally come forward.
The Documentary Jury is the same one as for the main Emerging Greeks Competition. It comprises of: Simone Baumann (Germany), Nikos Smpiliris (Greece) and Dr. Martin Blaney (UK).
To showcase new talent, there is also the Short Films Competition, divided into two screening programs. Complimenting this is a Student Shorts Competition.
The Shorts Jury is: Pierpaolo Festa (Italy), Karen Cifarelli (USA) and Marios Gavrilis (Greece-Germany).
The award ceremony on 30th March is followed by Athens Midnight Radio, the Closing Film.
~ By Steven Yates
As always with any major, small, or niche festival, all eyes are on the big events. The main competition is also conspicuous, and then there are the other sections. At this year’s Greek Film Festival Berlin, the reception for Stelios justified it as the Opening Film. Many of the audience stayed behind for the hour-long Q&A with director Yorgos Tsemberopoulos.
Stelios also belonged to an out of competition section called Tribute: Notes on Film. The section pays tribute to the makers of music in Greece throughout the last century. The other four films in the section assimilated retrospective Greek offerings with more recent films. It also balanced documentary with fiction films. Edge of Night by Nikos Panayotopoulos was released in 2000 and draws allusions to Stelios. In particularly, it harks back to the age of seedy bars in remote Greece. The narrative tells of an aspiring singer who leaves Athens, hoping for her big break. The film’s score is by renowned Greek composer Stamatis Kraounakis.
Made in 2019, Eftihia is a celebration of the life of Eftihia Papagianopoulou. The film portrays her struggles and dreams to become a poet and lyricist. In 1919, before the Greco-Turkish War, she escapes from Smyrna to Greece with her mother and two children in search of fame. Eftihia is further recognition for the poet, who did not become famous until after her death.
Yani Spanos: A Life behind the Marquee, by Aris Dorizas is an intriguing documentary. Made in 2023 it portrays the humble life of the Greek composer, born Ioannes “Giannis” Spanos. It also follows his collaborations in Paris and fame in his homeland. All this is seen through the eyes of a fan, with rare interviews and documents. The use of animation and collage is also enhancing.
Nikos Chantzis’ Return of the Creeps (2024) celebrates the famous Athens-based record label. An energetic documentary, it prominently looks at the life of Creep Records founder Babis Dallidis. Despite lasting only four years (1982-1986), Creep Records created a legacy of the Greek New Wave scene. This included the Post-Punk and Dark Wave genres. The featured label artists includes Art of Parties, Clown, Cpt Nefos, and Headleaders.
The Greek Film Festival Berlin runs until March 30th.
~ By Steven Yates
Here is a quick overview from the Chat Cinema Podcast on the 75th edition of the Berlinale. There is a PLUS and a Minus.
Berlinale press team sent me the location of the press conference, my eyes rolled. House of the Cultures of the World. A 1957 building straddling the Spree River in the Tiergarten section of the city. The symbolism of the location is not lost. After all the controversial headlines, the festival needed to prove point of being open to all. The problem is getting to this symbol of universal openness. Indian Jones would need patience this locale is inside the city, yet in a remote place not easily reached. I needed to take the U5 to the nearest Metro Station, Bundestag, then another eight-minute walk in -2C weather. After talking to other colleagues, we decided to watch the YouTube stream then discuss the details afterward. The reactions, The Berlinale has solidified its place as a second-tier festival.
This has been a cold January in the German Capital. Tricia Tuttle came out on stage wearing a jacket. Was this for warmth or protection? As the newly installed head of the Berlinale spoke in a clear but at times flatness enthusiasm. The jacket could have been more a security blanket. As the newly creative head read from cards, her lack of fervor became clear.
The team placed a best foot forward, going down the list of films on the scheduled to show in February. Normally before a film festival the buzz is built by press leaks of works that will unspool. The only news from Berlin concerned last year’s controversial anti-semitic row, budget cuts this year, threatened boycotts and then the sudden increased funding from the Ministry of Culture. Keeping track of a tennis ball would have been easier than staying up to date on news coming from Potsdamer Platz.
If there were high expectations, a breath of fresh air for the 75th edition of the Berlinale, the audience’s reaction sucked the air out of the room. The timid, almost chilly polite applause did not need explanation. Instead of something new, the festival was merely repackaging an average grade product. The Competition Section has a Richard Linklater work in the batch among the nineteen films in the run for the Golden Bear.
On the small-scale glamour front, the Special Section will include A Complete Unknown with Timothee Chalamet for a German Premiere and Robert Pattison in Bong Joon Ho’s Mickey 17 will hit the Red Carpet. Other stars confirmed to attend are Jessica Chastain with more to be announced. Perhaps the pleas for more big stars to come only reached the Junk Mailbox.
The Berlinale continues to say “It is one of the big festivals” alongside Cannes and Venice in relevance It is time to stop believing the press releases. For Tricia Tuttle, the honeymoon period is over.
The Berlinale starts Feb 13th.
The new Berlinale Poster, released the last week of December shows a new modern style. The number seventy-five features prominent at the right corner. Ditching film festival Bear artwork is supposed to signal change, breaking from the past, the arrival of a new era, a reinvention of a once significant February cinema event. But, is the new Berlinale just recycling the old with more colorful packaging? It takes more than shiny artwork to re-establish confidence in a film festival that has dug itself into a celluloid hole.
After a few conversations with some professional industry colleagues about the upcoming edition, we are starting to have more questions. What happened to doing something new? It is no secret the Berlinale fell behind, lacking the grandeur of Cannes, the artistic component of Venice, the hipness of Sundance or the commercial launching heft of SXSW, the space for change, a new way opportunity,is wide open in the German Capital. Yet, festival head Tricia Tuttle is on a Honey Moon press tour using pleasant Cucumber Salad language on how the festival looks to differentiate itself from the past. However, on closer examination, what changed appears unclear to regular Berlinale goers. One category eliminated, a new one added, the same past filmmakers with the similar thematic films appear on the schedule, again.
The wait and see game has started. Hopefully, the newly installed Berlinale team has not wasted precious good will.
Director Wes Andre Goodrich talks about his short film MEAL TICKET on this episode of Chat Cinema Podcast. The work centers on a story of a choice and an opportunity. The up and coming Brooklyn based filmmaker’s delves into the conscience of a person taking a step upward, but at what price?
Chat Cinema interviews Award Winning Directors, talking about their short films and future work. Cannes Film Festival Golden Palm Winner The Man Who Could Not Remain Silent from filmmaker Nebojsa Slijpcevic and Meal Ticket by Wes Andre Goodrich are works concerning choices. Stay Tuned for the new episodes.
Ridley Scott’s 2000 Best Picture directorial work Gladiator was a seminal moment in 21st century cinema. Oscar winner Russel Crowe’s broody Maximus made an impression on filmgoers. Gladiator 2 arrived in cinemas this week. It is best to leave well enough alone. This come twenty-four years later sequel is an out of sync spectacle.
Paul Mescal has some big sandals to fill as Lucius, the less brutal, more pondering vengeful son of Maximus. Not lacking in the spirit of role but lacking the grit, the Irish actor looked as if he was learned how to swim without an instructor for the first time.
Denzel Washington as the scheming Macrinus was relishing his role at times the twice Academy Award earner overshadowed a cast that came off as having taken a high dosage of Xanax.
The Wikipedia referenced script has the usual assortment of Roman Empire intrigue for the civic crown. I, Claudius captured these characters better.
Scott plays well with the visual, too bad the whole Gladiator 2 was just a lot of humdrum separate parts.
2.5/5 stars.
Gladiator 2 is in European Cinemas. Running Time: 2 hours 28 mins.
Release Date in the US on November 22nd.
Awards Season has started, so has our screening of films that could get nominated for a trophy. Look for news, interviews and reviews here.
