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Awards from The Greek Film Festival Berlin

For its tenth edition the Greek Film Festival in Berlin presented thirty-three feature films. This included six international premieres, eighteen German premieres and three Berlin premieres. Following five days, three competitions, special screenings and side events was the award ceremony. The award category prizes were for the main competition, documentaries and short films.

Winners

The winner of the main Emerging Greeks Competition award was Meat by Dimitris Nakos. The three-person jury also gave a motivation for the award. Part of it read, “…a feature debut which kept our attention throughout…” Director Dimitris Nakos was present to pick up the award.

Meat by Dimitris Nakos at The Greek Film Festival Berlin

The same jury also awarded the prize for the Documentary competition. The winner was Tack by Vania Turner. Within the jury motivation it read, “The filmmaker closely follows two victims of sexual abuse in their struggle…” Furthermore, they commended the animated sequences in the courtroom that could not be filmed. The use of silence and subtitles heightened the eerie court atmosphere. Director Vania Turner was also present to receive her award.

Honeymoon by Alki Papastathopoulos won the Short Film award. The film is a serious plea from the transgender community to support inclusion. The jury said, “What could have been a story about victims became a story about heroes.” Lead actress Nassia Sydeta picked up the award for the absent director. A Special Mention was awarded to the short Scorched Earth by Markela Kontaratou. The jury justified how, “…the female gaze turned a simple story of a stay by the sea into a thriller…”

Honeymoon by Alki Papastathopoulos at The Greek Film Festival Berlin

This year’s closing film was Athens Midnight Radio by Renos Haralambidis. An Athens late-night radio producer turns fifty and realizes he’s no longer young. On air he reminisces about his life so far with creeping regret. The solitude feels ghost-like, complimented by the beautifully filmed Athens night. For its German premiere, main actor and director Renos Haralambidis introduced the film. Joining him for the Q&A after the screening were producer Angelos Venetis and main actress Margarita Amarantidi.

Following the closing ceremony, a party was held in Berlin to sign-off on this special tenth edition. In the presence of guests, the festival team cut the commemorative birthday cake.

By Steven Yates   

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Documentary Competition

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.

#MeToo

Tack at the The Greek Film Festival Berlin
TACK

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  

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Berlinale Round Up

The 75th Berlinale is coming to a close. Did the film festival make a sharp turn upward? For this Chat Cinema podcast round up discuss the cinema event under new leader head Tricia Tuttle.

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Berlinale Plus and Minus

Here is a quick overview from the Chat Cinema Podcast on the 75th edition of the Berlinale. There is a PLUS and a Minus.

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Berlinale 75th

For this episode of Chat Cinema we talk about the Berlinale. The 75th edition starts February 13th. Has the film gathering event turned a major corner with a new head? The Honeymoon period was pleasant. Now comes the hard part. Turning the Berlin gathering into a true “A-List” festival.

But, beneath the mixed headlines, we also found some gems that will screen over the course of ten days.

Check out the podcast with co-host Steven Yates.

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Choice or Opportunity talk on Chat Cinema

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?

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Reviving the Berlinale

The Berlinale is a few months away, however the press tour has already started.  New head Tricia Tuttle held a meet and greet for local press discussing the plans for making the city’s biggest cinema event more relevant.  The American born said “she wanted to bring back enthusiasm to the Berlinale.”   Was this a polite snub to previous heads Carlo Chatrian and Dieter Kosslick?  It has been no secret Berlin has lost its luster over the years with filmmakers and other professionals.  Europe’s third biggest film festival fell far behind Cannes and Venice.  The American gatherings, Sundance and SXSW aim for youth over politics. 

Berlinale
Sony Center at Potsdamer Platz

Tricia has her hands full, the first female while being fourth head in six years. A newbie in a city with many cultural and structural differences. Former East, former West attitudes make a peculiar tasting soup when combined in a pot.  Chatrian got pushed out by backroom forces.  The former London Film Festival head took over after many disagreements over the direction of festival. Where does the Berlinale stand in the circuit? Commercial? Politics? Mainstream? European Arthouse?  Tuttle wants to attract younger audiences with a new social media plan along with cheaper tickets for students. That plan looks good on paper; however, a film festival is about films. A Deadpool or Dune sequel would get the under 30 crowd attention, not typical Berlinale Palace fare.

Festivals are not just gatherings, but places to discuss cinema. The organisation’s press room is more a sterile inoculation clinic than a conversational space. The 300 or so titles running in the different sections are not fully curated forcing attendees to ask each other for recommendations. Sadly, as Potsdamer Platz no longer functions as a central point, chit chatting is difficult. One film unrolls in Friedrichshain, then seven km to Charlottenburg for another, shoes, patients and luck will be needed.  Hopefully, the Berlinale will find a new physical center. And sadly, there are still no midnight screenings. 

Good Luck Ms. Tuttle. Restoring a reputation is hard work.

Will we attend the 75th Berlinale February 3rd after the 2018 banning? We will apply and see. 

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Is the Cannes Film Festival soft this year?

The 77th edition of the Cannes Film Festival is coming across a bit soft this year. After Hollywood’s writers and actors strike, the South of France cinema gathering has the star power but not the potent zest. Many of the anticipated titles from industry heavy weights Coppola and Costner came up short with critics.

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Coppola’s Return?

The big news from Cannes Film Festival 2024 is the return of 1970’s auteur Francis Coppola with MEGALOPOLIS. The American Born director’s first feature in thirteen years. Early notices about the $120 million production have not been positive with industry professionals calling the work “Challenging”. The all star sci-fi drama includes acting heavyweights Adam Driver, Dustin Hoffman and Giancarlo Esposito will need a big push to recover its costs. This is not the first time the five time Academy Award Winner has gotten bad news during early previews. APOCALYPSE NOW equally divided opinion

1979’s Apocalypse Now

makers in 1979. The Vietnam War drama in my opinion is a work of “Bombastic Pageantry” that at times try’s to numb you into believing it is a great film.

Can Francis get his mojo back at 85? On May 17th we will see.

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Feeling #Vindicated

I have no pleasure in Carlo Chatrian’s abrupt departure. The Swiss native is a cinema enthusiasts. During my interview with the former Locarno Film Festival head, I found him to be engaging, positive and passionate about the cinematic art form. After taking the helm in Berlin in 2020 following the departure of Kosslick, Carlo seemed a right fit to elevate the event into the same leagues as the Cannes and Venice fests. Skeptical thoughts came to my mind cause of Chatrian’s intellectual demeanour. The German capital’s institutions are not known for easy change especially headed by outsiders. After having my accreditation rejected cause of the Chat Cinema Podcast critiquing the Berlinale, this is an organisation resistant to even listening. Now, I feel vindicated.

As I was attending an event on Saturday September 2nd, suddenly a push notification came on my phone, “Resignation” at the Berlinale. Another one! Following Mariette Rissenbeek’s earlier exit, the dual in charge of one of the world’s biggest film festival checked out. Statements have been flying from the Ministry of Culture about only wanting one creative head.

With his contract over in 2024, the search is on for a new creative director. The Berlinale will continue, the question is who would want to head the February Festival?