By David Walsh, 22 August 2020
A French actress in her 70s, Fabienne Dangeville, receives a visit at her elegant Paris home from her daughter Lumir, son-in-law Hank and grand-daughter Charlotte, who live in New York.
By Louis Girard, 20 June 2020
Yielding to the anti-democratic #MeToo campaign, distributors in Quebec refused to buy the rights to Polanski’s remarkable film about the Dreyfus Affair.
70th Berlin International Film Festival—Part 5
Strike or Die and several shorts: Filipiñana, Union County, Huntsville Station: A renewed interest in workers’ lives
By Verena Nees, 30 March 2020
This year’s Berlinale showed films featuring workers and their families as central characters who, despite oppressive living conditions, exhibit self-confidence, pride and a degree of rebellious spirit.
70th Berlin International Film Festival—Part 4
My Little Sister, Kids Run, Running on Empty and Sleep speak to growing social tensions and persisting historical nightmares
By Bernd Reinhardt, 24 March 2020
In recent years, a small minority of the middle class have successfully pursued their careers and become wealthy while a large majority directly confront poverty. This polarisation also applies to the art and film world.
70th Berlin International Film Festival—Part 2
By Verena Nees, 11 March 2020
The title of Vanessa Lapa’s documentary, Speer Goes to Hollywood, and its tagline, “The Unbelievable Second Career of the Good Nazi,” are enough to stop one in one’s tracks.
70th Berlin International Film Festival
An interview with Vanessa Lapa, director of Speer Goes to Hollywood: “We have to take the danger of rewriting history very seriously.”
By Verena Nees, 11 March 2020
The WSWS spoke to Vanessa Lapa, whose film documents the career of Hitler’s favorite architect, Albert Speer, and dispels the mythology that still surrounds him.
By Alex Lantier, 29 February 2020
The French Film Academy openly defied demands from the #MeToo movement and President Emmanuel Macron’s government not to give Polanski an award.
By Alex Lantier, 15 February 2020
Allied with the reactionary Macron government, #MeToo demands the censorship of Polanski’s brilliant account of the anti-Semitic frame-up of Captain Alfred Dreyfus, which was a seminal event in modern French history.
By David Walsh, 17 December 2019
Anna Karina, the Danish-born actress indelibly associated above all with the early films of French-Swiss director Jean-Luc Godard, died Saturday at a Paris hospital from cancer.
The Dirty War on the National Health Service: John Pilger documentary “goes to the heart of the struggle for democracy today”
By Jean Shaoul, 10 December 2019
Pilger’s work is a deeply passionate appeal to working people in the UK to oppose the decades-long, covert assault on the NHS by all three major parties.
By Alex Lantier, 23 November 2019
The #MeToo campaign is aligning itself with the French state, slandering anyone who views or admires this magnificent retelling of the Dreyfus Affair as a rape apologist.
69th Berlin International Film Festival—Part 3
By Stefan Steinberg, 28 February 2019
This is the third in a series of articles on the recent Berlin International Film Festival, the Berlinale, held February 7-17, 2019. The first part was posted on February 15 and the second on February 22.
By Clara Weiss, 18 February 2019
The film is a poignant indictment of social inequality and has been subject to a campaign of Russian government censorship.
68th Berlin International Film Festival—Part 3
By Stefan Steinberg, 20 March 2018
The events surrounding Kurt Waldheim’s campaign and subsequent election in 1985-86 played a major role in uncovering the real role played by the Austrian ruling elite in the Second World War.
Cottbus Festival of Eastern European Cinema
From Slovenia, Jan Cvitkovič’s The Basics of Killing: “We are all alone in capitalist society, especially when things go wrong”
By Stefan Steinberg, 16 November 2017
The “basics of killing” are the social measures and pressures that can destroy the lives of entire families in a short time.
By Bernd Reinhardt, 9 January 2017
The considerable international success of the German film certainly has something to do with frustrating and bitter experiences of broad sections of the population.
By Paul Mitchell, 26 November 2014
Night Will Fall explains the making of a remarkable work, the “German Concentration Camps Factual Survey”, which depicted the terrible crimes of the Holocaust in a ground-breaking and accurate manner.
By Stefan Steinberg, 20 November 2014
The Festival of East European Cinema in Cottbus, Germany has been an annual event since 1991.
By Dorota Niemitz, 13 October 2014
Munk, part of a generation of Eastern European artists struggling to deal with the postwar situation, was able to create a humane and authentic portrait of his times.
64th Berlin International Film Festival—Part 1
By Stefan Steinberg, 20 February 2014
A notable feature of the 2014 Berlin International Film Festival was the manner in which certain leading figures in the film word openly promoted their retrograde political agendas.
63rd Berlin International Film Festival—Part 1
By Stefan Steinberg, 21 February 2013
A number of interesting films from central and eastern Europe were awarded prizes in Berlin this year, but, unfortunately, they were not characteristic of the festival as a whole.
By Bernd Reinhardt, 3 August 2011
Signs of social dissatisfaction with the Stalinist state in the 1960s were captured in a series of East German films, which were either immediately banned or dropped by cinemas after a short time.
By Jordan Mattos, 14 May 2011
The recent Tribeca Film Festival screened some interesting works from Serbia, Hungary, Lebanon, Israel, Egypt, Korea, France and Romania in particular.
By Joanne Laurier, 27 July 2010
Numerous critics argue that director Luca Guadagnino’s I am Love represents something of a revival of Italian cinema, and compare the new film favorably to Luchino Visconti’s 1963 masterpiece, The Leopard.
San Francisco International Film Festival 2010 Part 2: Susa—The type of life that requires illusions
By David Walsh, 11 May 2010
Susa, directed by Rusudan Pirveli and written by Giorgi Chalauri, comes from Georgia, the former Soviet Republic. The title character (played by Avtandil Tetradze) is a boy living in bad conditions, somewhere outside the capital city of Tbilisi.
By Joanne Laurier, 20 April 2010
A 19-year-old homeless youth of North African descent is jailed in a French prison, where he develops into a new type of gangster.
60th Berlin International Film Festival—Part 6
By Bernd Reinhardt, 17 March 2010
The documentary Fritz Bauer—Tod auf Raten (Fritz Bauer—Death by Instalments), directed by Ilona Ziok, celebrates the German jurist and prosecutor Fritz Bauer (1903-1968), who now—unjustly—is almost forgotten.
60th Berlin International Film Festival—Part 5
By Stefan Steinberg, 11 March 2010
Romanian cinema has won a reputation in the last few years with a series of films by younger directors attempting to come to grips with the consequences of the introduction of the capitalist free market following the collapse of Stalinism.
This year’s German films: In general, a more serious tone
By Bernd Reinhardt, 6 March 2010
A number of trends currently find expression in German cinema. On the whole, this year’s feature and documentary films on view at the Berlinale adopted a more serious tone.
By Richard Phillips, 28 November 2009
Vincere is about Ida Dalser, the first wife of fascist dictator Benito Mussolini. Directed by Marco Bellocchio, this audacious work should encourage audiences to examine the dark history of this period in more detail.
By Bernd Reinhardt, 11 August 2009
On the twentieth anniversary of the fall of the Berlin wall, a cinema in the German capital showed a retrospective of films dealing with the event.
By Joanne Laurier, 30 April 2009
At the age of 77, Swedish director Jan Troell is one of Europe’s more distinguished filmmakers. His latest film, Everlasting Moments, tells the story of Maria Larsson, a Finnish-born mother of seven and wife of Sigge, a flamboyant, militant docker.
By Hiram Lee, 29 December 2008
Veteran French New Wave director Claude Chabrol returns to the screen with an interesting but limited work inspired by the life of Evelyn Nesbit.