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FEBRUARY 12, 2016

THR.COM/BERLIN
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BERLIN
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Chinas Bliss
Media Takes
Stake in Wild
Bunchs Insiders
By Patrick Brzeski
hinas Bliss Media

has acquired a stake
in Insiders, the international sales outfit launched
at the Cannes Film Festival
last year by Wild Bunch and
Cine France.
Based in Shanghai and
Los Angeles, Bliss Media is
a finance, production and
distribution company. It is
co-financing Pablo Larrains
Jackie starring Natalie Portman
and Michael Manns Enzo
Hail, George and Amal!
C O N T I N U ED O N PA G E 2
Kazan Couples
With Nanjiani
for The Big Sick
By Rebecca Ford
JOHN MACDOUGALL/AFP/GETTY IMAGES
oe Kazan will join Silicon

Valleys Kumail Nanjiani in
The Big Sick.
Nanjiani wrote the
script for the film
with his wife, Emily
V. Gordon. The
story is based on
Nanjiani
their own relationship
and centers on the challenges a Pakistan-born man
(Nanjiani) and his American
girlfriend (Kazan) have to
overcome to be together.
Hello, My Name Is Doris
C O N T I N U ED O N PA G E 2
Clooney and his wife took to the red carpet at the Berlinale Palast on Thursday night to kick off the
66th Berlin Film Festival with the European premiere of the Coen Brothers Hollywood satire Hail, Caesar!
EuropaCorp: On the Auction Block?

Christophe Lamberts abrupt departure as CEO of Luc Bessons film studio has raised renewed
speculation that the company might soon be sold off By Alex Ritman and Rhonda Richford
EuropaCorp private.
he abrupt exit of Christophe Lambert as CEO
Besson has said that they want to be de-listed.
of Luc Bessons growing Paris-based major
There are too many reports, too much examination,
EuropaCorp on the eve of the Berlinale
its expensive for the company. They dont see the
has raised eyebrows in Europe and the U.S.
point. [A sale] is a way to get rid of these limits,
While EuropaCorp and Besson offered the
one source told THR.
standard praise for their outgoing leader, who
With Lambert reported to have an ego to
resigned Wednesday following a board meetmatch that of Besson, sources suggest his
ing after almost six years at the helm, sources
exit could be linked to a pending takeover.
almost all surprised by the news have
French giant Vivendi, U.S. studio Universal
hinted that his departure could be linked to
Shmuger
and Amazon are all seen as potential suitors for
events going on behind the scenes at a publicly
EuropaCorp, and Lamberts presence might have
traded studio with grand international ambitions.
been considered an obstacle.
One major cause is believed to be Bessons
not-exactly-secretive search for a buyer to take
C O N T I N U E D O N PA G E 2
THE HOLLYWOOD REPORTER
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2/5/16 11:17 AM
2/11/16 8:31 PM
theREPORT
HEAT INDEX
TOM SCHILLING
The Oh Boy and Generation War star
channeled his inner Ziggy Stardust for
a live performance of David Bowies
Space Oddity at the Ballhaus Berlin
on Wednesday, kicking off an all-night
musical tribute to the late, great pop star.
ANGELA MERKEL
The German chancellor earned
some Hollywood support for her
much-criticized handling of the refugee
crisis when George Clooney told
reporters that he would meet her and
recently arrived immigrants on Friday
to put a spotlight on the issue.
KNOW YOUR DEALMAKER
EuropaCorp
CONTINUED FROM PAGE 1
His replacement at
EuropaCorp, former Universal
Pictures chairman Marc Shmuger
(whom Besson had reportedly
been chasing for years after
working with him in the 90s),
has taken the post on an interim
basis, though sources suggest he
might have the option to stay on,
even after a future sell-off.
EuropaCorps film slate has
expanded rapidly following the
launch of RED, the U.S. distribution company it set up with
Relativity Media in 2014. Despite
a bankruptcy judges conditional
approval of Relativitys reorganization plan (which EuropaCorp
objected to), EuropaCorp is
now set to argue at a Feb. 17
hearing that its deal with Ryan
Kavanaughs studio for RED cannot be assumed thanks to alleged
Besson (left)
and Lambert
in 2012.
breaches of an operating agreement and lack of compensation

for a default.
The official line from Besson
about Lamberts exit is that
he had a desire to produce.
EuropaCorp sources told THR
that after the board meeting,
Lambert flew from France to
L.A. Other insiders suggested
EuropaCorps board would be
rather happy with his departure.
Possibly raising their smiles
even further was seeing
EuropaCorp shares close up

3.8 percent on Thursday, though
analysts couldnt be reached for
comment on whether the rise was
driven by expectations of a sale or
hope for stronger results under a
new CEO.
Shmuger will return to Europe
next week to attend the Berlinale
and meet with EuropaCorp international partners.
Scott Roxborough and Eriq
Gardner contributed to this report.
EUROPACORP: 3 HITS, 2 MISSES

HIT!
HIT!
LUCY (2014)
BOX OFFICE $463 million
The sci-fi thriller starring

Scarlett Johansson
as a brainy superhero
fueled the companys
international expansion.
MISS
HIT!
TAKEN 2 (2012)
All the entries in the

Liam Neeson action
franchise were big
earners, but the second
release was the biggest.
TAXI 2 (2000)
The action-comedy
sequel was the most
successful installment
in one of Frances
biggest franchises.
A MONSTER IN PARIS
(2011)
The 3D film failed to
bewitch moviegoers
and put cartoon plans
on the back-burner.
MISS
THE HOMESMAN (2014)

BOX OFFICE $2.4 million
Tommy Lee Jones dark
Western, co-starring
Hilary Swank, wowed
Cannes critics but bit the
box-office dust.
Source: BoxofficeMojo.com (worldwide B.O.)
K I M B E R LY F OX
MADRIVER PICTURES, PARTNER
Ahead of EFM, the Annapurna International

executive joined Marc Butans company
to launch its international sales
arm, which will handle both MadRiver
and Vendian Entertainment projects.
She will also continue to rep Annapurnas
titles internationally.
MEANWHILE, IN THE REAL WORLD

NBCUniversal will launch a reality
TV subscription VOD service,
dubbed hayu, in the U.K., Ireland
and Australia in March.
Paramount boarded xXx: The
Return of Xander Cage. Sony
released the previous two films in
the franchise starring Vin Diesel.
Stock markets around the world
plunged amid the latest drop
in oil prices and cautious comments from the Federal Reserve
chair, fueling fears about the
global economy.
Insiders
Kazan
Ferrari, which Paramount Pictures acquired for

U.S. distribution. Insiders, headed by Wild Bunch
CEO Vincent Maraval, is selling the international
rights to the two projects.
The companies will deepen their collaboration
under the deal. Insiders will handle the international sales rights for all of the films financed
and produced by Bliss, which will include both
English-language and Chinese titles. Insiders says
the partnership will help Chinese productions
reach a wider international audience something
that the Chinese
Andrew Garfield in
industry and govHacksaw Ridge.
ernment regulators
covet but have yet to
achieve. The capital
infusion should also
help Insiders acquire
and sell top titles.
Bliss recently
acquired Chinese distribution rights to the
Mel Gibson war drama
Hacksaw Ridge.
director Michael Showalter will

helm the film, which is being
produced by Judd Apatow and Barry
Mendel. FilmNation is financing
and selling the project to foreign
buyers at EFM in Berlin, while
UTA is handling domestic rights.
Nanjiani has been quickly
rising in the comedy world.
Along with starring in the HBO
hit Silicon Valley, he writes and
executive produces Comedy
Centrals The Meltdown and has
appeared on other popular series
like Portlandia and Broad City.
Kazans recent credits
include Our Brand Is Crisis, What
If and Ruby Sparks. She has horror
film There Are Monsters coming up
along with My Blind Brother, also
starring Adam Scott and Jenny Slate.
She is repped by UTA, Washington
Square Films Management and
Jackoway Tyerman.
D2_Berlin_news1+2_G.indd 2
Kazan
2/11/16 8:29 PM
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1/25/16 10:23 AM
theREPORT
Amy Sparks a Doc Frenzy at EFM

With a global haul of $27 million and an Oscar triumph perhaps in the cards, the
emotional Asif Kapadia music bio has triggered a wave of high-end nonfiction fare
By Alex Ritman
resh off the success of Oscar documentary nominee Amy, British director
Asif Kapadia is now looking to repeat
the feat with another major profile-led documentary, Maradona, which bows at EFM. He
and his producing partner James Gay-Rees
also are teaming to produce Mat Whitecross
untitled Oasis doc, first announced at AFM
last year and hoping to pick up a U.S. buyer
in Berlin.
With Liz Garbus Netflix title What
Happened, Miss Simone? also among the
Academy nominees, its clearly a purple
patch for icon-driven docs.
Theyre suddenly considered theatrical
propositions, says Oli Harbottle, head of distribution at U.K. doc specialists Dogwoof, who
adds that it was only those documentaries led
by personality filmmakers, such as Michael
Moore or Morgan Spurlock, that used to punch
through at the box office.
But although the underlying foundation
of success is in the expert craft involved
(Harbottle says Kapadia and Gay-Rees have
raised the bar for the whole genre, starting
with their first hit, 2010s Senna), theres

another major factor in making features
beyond the typical TV-style talking-headsplus-footage music or sport doc especially
when dealing with personalities, like soccer
legend Diego Maradona, who has been covered
numerous times before.
Theres always a cheap version of these
films that one can make, but what separates
them out is exclusive content, the archive
that no one has seen, says Leo Pearlman,
co-founder of British banner Fulwell 73,
which has produced several sports and music
titles and will bow its Usain Bolt doc, a profile
of the star Jamaican sprinter, at EFM.
Everyone has seen [Bolt] win, banging his
chest with his arms out before he crosses the
line, but if Ive got exclusive content of his
roommate having filmed him throughout the
2008 Olympics in their room, thats something people would then go and pay to watch.
Its something they havent seen before.
But with this footage comes a greater cost,
especially as those who find a once-thoughtlost stash of video clips or recordings start to
Netflixs What Happened Miss Simone?, about jazz singer Nina

Simone, is in the mix for best documentary feature at the Oscars.
appreciate their potential value before handing them over to filmmakers.

There are some people who think theyre
sitting on a retirement plan, says Gay-Rees,
who says his top price point for making his
docs is about $3 million (he adds that hes
planning to make more).
But there are those who just want to
genuinely be a part of the process, and if
you can convince them youre going to be
positive to the legacy, then theyre more
inclined to participate and its not so much
about the money. THR
Jean Reno
Set to Take
Last Step
By Alex Ritman
Exclusive
First Look
Carrie Pilby
The Diary of a Teenage Girl breakout Bel Powley stars as the title character in Carrie Pilby, playing a book-smart woman who attempts to find
love in New York by using a checklist. Radiant Films International is selling the YA adaptation, which also stars Nathan Lane and Gabriel Byrne.
D2_Berlin_news3B.indd 1
ean Reno is stepping into

the blood-splattered shoes
of a hitman once
more. The Leon star has
been cast alongside Sarah
Lind in The Last Step, a
French-Canadian-British
Reno
co-production set to start
shooting in Canada this fall.
The film will sees Reno play
the worlds most wanted and
anonymous hitman, whose
retirement in a remote cabin
is violently interrupted by
the arrival of a young woman
involved in a near-fatal accident.
Frederic Petitjean (Turning Tide)
will direct from his own script,
with Laurent Tolleron of Seven 52
and Corinne Benichou and Florence
Moos of Eight 35 producing.
Mark Montague, James Fler
and Michael Paszt will produce
for Berserker in Canada and
Mark Vennis and Gary Phillips for
Moviehouse in the U.K. THR
2/11/16 10:54 AM
CDB16_AF02AD EFM THR12.pdf
2/9/16
11:31 AM
CM
MY
CY
CMY
Cinema do Brasil D2 021216.indd 1
2/9/16 3:06 PM
theREPORT
THR AT BERLIN
n
Hidde
GEM
NEWS
Kevin Cassidy
kevin.cassidy@thr.com
+1 213 840 1896
Its a Feast for the Eyes, Too
A German-Canadian celebrity chef grows his own food to feed hundreds of lucky
guests in the Culinary Cinema doc The Singhampton Project By Etan Vlessing
Patrick Brzeski
patrick.brzeski@thr.com
+81 (0) 80 5900 0233
Rebecca Ford
rebecca.ford@thr.com
+1 310 929 7054
Alex Ritman
alex.ritman@thr.com
+44 79 3000 3017
Scott Roxborough
scott.roxborough@thr.com
+49 (0) 172 587 5075
Georg Szalai
georg.szalai@thr.com
+44 777 137 0103
Etan Vlessing
etan.vlessing@sympatico.ca
+1 416 578 8276
REVIEWERS
Jon Frosch
jon.frosch@thr.com
+1 310 773 7191
Deborah Young
dyoung@mclink.it
David Rooney
drooney@nyc.rr.com
Jordan Mintzer
jpmintzer@mac.com
Boyd van Hoeij
filmboyd@gmail.com
COPY
Mike Barnes
mike.barnes@thr.com
ART
Kelsey Stefanson
kelsey.stefanson@thr.com
Christopher Hawkins
christopher.hawkins@thr.com
PRODUCTION
Maya Eslami
maya.eslami@thr.com
PUBLISHER
Lynne Segall
lynne.segall@thr.com
SALES
Alison Smith
alison.smith@thr.com
+44 7788 591 781
Debra Fink
debra.fink@thr.com
+1 213 448 5157
Lourdes Costa
lourdes.costa@thr.com
+44 7516 386 360
Frederic Fenucci
frederic.fenucci@thr.com
+44 7985 251 814
Tommaso Campione
tommaso.campione@thr.com
+44 7793 090 683
Ivy Lam
ivy.lam@thr.com
+852 617 692 72
Stadtlander (right)
prepared meals with the
help of 17 apprentices.
arm-to-table dining is
popular among restaurant-goers these days, and
Canadian celebrity chef Michael
Stadtlander has taken back-tothe-land cuisine to a new frontier.
The Singhampton Project,
director Jonathan Staavs documentary that screens in Berlins
Culinary Cinema sidebar, follows
Stadtlander and a landscape artist creating seven gardens on his
100-acre farm north of Toronto
in which they will grow, cook
and serve a seven-course tasting
menu to hundreds of guests over
20 nights.
Much of the film sees
Stadtlander kneeling in his garden rows, watering and weeding
with the help of 17 apprentices,
feeding livestock and even
drawing and cooking down maple
syrup from his forest.
Stadtlander, who emigrated
from Lubeck, Germany to
Canada in 1980, takes cuisine

very, very seriously.
Shooting with Stadtlander is
a full-time job, Staav says. Hes
gets so much done in the course
of one day. You basically have to
be there from sunup to sundown.
Stadtlander and his collaborator, landscape artist Jean
Paul Ganem, are in a race to get
to their opening feast. But The
Singhampton Project has no rollercoaster of emotions or dramatic
reveals typical of TV restaurantopening shows.
He (Stadtlander) always pulls
it off. Theres a lot of showmanship involved, and his patrons are
always amazed, Staav says.
In the film, Stadtlander, a
third-generation farmer-chef
after his mother and grandmother in Germany, finds water
to irrigate his garden patches
even though it hadnt rained in
months, and much of his artistry
D2_Berlin_Gem_Singhampton_H.indd 6
THE PU BLICIST
berlin according to ...
CHARLES MCDONALD
Co-founder, International
Rescue PR
Whats your Only in
Berlin moment
Meeting a jet-lagged
Lauren Bacall at Tegel and
traipsing around the airport
with her small dog as she
encouraged him to pee,
pursued by dozens of paps
and autograph hounds.
The following morning at
the Adlon, she greeted my
cheery morning greeting
with a terse, Dont good
depends on what the soil tells

him. His inventive creations
become a metaphor for what anyone can attain if they open their
mind and their mouths.
Hes just this connection to
our past where the things he does
arent that different from what
our grandmothers did, when they
emigrated here. They had a vegetable garden, and in the summer,
thats where produce came from,
Staav says.
Beautifully shot, The
Singhampton Project could have
audiences in Berlin eyeing a
vegetable plot and some clucking
chickens for themselves.
The bounty of Stadtlanders
art extends beyond his dinner in
the woods. The film shows him
making his own pottery dishes as
well as chairs and tables fashioned from local wood.
Staav says hes looking forward to his Berlin screening as
something of a crowning achievement for the Canada-Germany
co-production.
I made this movie for Germans
to see their prodigal child,
this guy who crossed the ocean
and became more Canadian than
Canadians. If he had stayed in
Germany, he would have never
been able to do what he has.
Theres not enough land to go
around. Because he landed in
Canada, he had the opportunity
to live his dream.
morning me.
Whats the biggest Berlin
faux pas?
Dont be late for anything. It
is frowned upon. Your official
screening will start without
you and your team.
Wheres the place to
avoid at the fest?
Those highly dangerous
cycle lanes on the pavements. Those eco types do
not take prisoners.
Whats the one thing
you cant you do without

during the festival (not
including you phone)?
My stout hiking boots,
warm, dry and comfortable.
Suitable for encouraging
photographers to back off.
Best thing can you
only do in Berlin
Watching the splendid
Nick Cave in Hitlers box at
the Admiralspalast. Beyond
that, I love the palpable
sense of history good
and not so good that
permeates Berlin.
2/11/16 6:39 PM
Contents Panda D2 021216.indd 1
2/4/16 4:46 PM
EFM 2016
THE BEAUTIFUL
DAYS OF ARANJUEZ
A film by
WIM WENDERS
THE BODY
ARTIST
A film by
ET DERRIERE MOI UNE CAGE VIDE
KATEB
With the special performance of
GREGOIRE LEPRINCE-RINGUET
HANDKE
SOPHIE SEMIN
JENS HARZER
NICK CAVE
An ALFAMA
and NEUE
FILMS
ROAD MOVIES coproduction
Adapted from the novel by DON
Starring MATHIEU
AMALRIC
IN POST-PRODUCTION
DELILLO
JULIA ROY
JEANNE BALIBAR
IN POST-PRODUCTION
Based on the novel by JEAN-DANIEL
BALTASSAT
DEPARDIEU
EMMANUELLE SEIGNER PAUL HAMY
Starring GERARD
FANNY ARDANT
FOOL MOON
A film by
Starring REDA
BENOT JACQUOT
STALINS COUCH
A film by
From the play by PETER
IN POST-PRODUCTION
LEPRINCE- RINGUET
PAULINE CAUPENNE
AMANDINE TRUFFY
Starring GREGOIRE
IN POST-PRODUCTION
THE CAPTAIN
A film by
ROBERT SCHWENTKE
(Flight Plan, Red, R.I.P.D., Insurgent)
A FILMGALERIE
451 PRODUCTION
OPUS FILM PRODUCTION
and ALFAMA FILMS coproduction
SHOOTING AUTUMN 2016
International Sales & Festivals: Alfama Films - Andra dos Santos | Cell: (+33) 7 86 55 92 23 | andrea.alfamafilms@orange.fr | www.alfamafilms.com
Alfama Films D2 021215.indd 1
2/4/16 11:16 AM
P A UL O BR ANC O PR ES E N TS
A FILM BY HUGO
VIEIRA DA SILVA
WITH
NUNO LOPES
IVO ALEXANDRE
DAVID C ARACOL
SCREENING SCHEDULE
WWW.ANOUTPOSTOFPROGRESS-THEFILM.COM
FRIDAY 12
SATURDAY 13
SUNDAY 14
MONDAY 15
TUESDAY 16
7:30 PM
2 PM
7:30 PM
10:15 PM
10:15 PM
CINEMAXX 4
AKADEMIE DER KNSTE,

HANSEATENWEG
CINEMAXX 6
CUBIX 9
CINESTAR 8
(PRESS & INDUSTRY)
PRESS AGENT: Le o p a rd o Fi l m es - R e n ata C u ra d o

Alfama Films D2 021215.indd 2
| C e l l : ( + 3 51 ) 9 1 4 79 2 479 | re n ata c @ l e o p a rd of i l m es . c o m
2/4/16 11:16 AM
Q&A DIRECTOR
John Michael
McDonagh
The London native on setting his newest

film in New Mexico, the role alcohol
plays in his casting process and why
hell never work in TV By Alex Ritman
The American Southwest seems a sizable

departure from Ireland. Was this an active
decision when you decided to start writing?
I dont think War on Everyone is that sizable
a departure. The Guard and Calvary were both
Westerns, ostensibly, so I thought I might as
well locate to the actual west. Earlier drafts
of the screenplay were set in London and then
Dublin, but they never felt quite right, either
tonally or visually. It was only when I latched
on to the New Mexico location that my vision
for the movie started to cohere. Its also nice
to wake up in sunlight and not get rained on
all the time. Plus, I like burritos.
Is New Mexico anything like rural Ireland?
New Mexico is a beautiful place, a lot of blue
and a lot of red. I found Albuquerque to be
visually very interesting, lots of idiosyncratic
locations. The people there were as welcoming
to us as the people in the west of Ireland. As
regards to the comedy elements and characters, these are all figments of my imagination
and so can be found at any location I arrive at.
Like The Guard, War on Everyone does appear
to be another buddy cop comedy and involves
a fair splash of corruption too. What it is about
police corruption that youre so drawn to?
I dont consider Gerry Boyle in The Guard to
be corrupt, more bored out of his mind. Bob
Bolano and Terry Monroe in War on Everyone,
however, are totally and irredeemably corrupt. I think characters who are supposed
to be in positions of authority, and who are
The minute you put a

few gags in a script, you
end up in Panorama,
says McDonagh, whose
younger brother is
Martin McDonagh, the
director of In Bruges.
You brought your first two films to Berlin as well.

What is it about the festival that you like?
I like the big red curtains at the Zoo Palast
cinema. German audiences in particular have
been very responsive to my style both The
Guard and Calvary were art house hits there.
In hindsight, though, I felt Calvary shouldve
played in competition Brendan Gleeson
wouldve had a good shot at best actor.
Youve said you were planning to make a final

film in a trilogy started by The Guard called
The Lame Shall Enter First, about a paraplegic
ex-London policeman, with Gleeson.
The Lame Shall Enter First has been put on the
back burner. I havent got around to actually
writing it yet. To be honest, itll be the last
original screenplay I ever write. I dont think
original screenplays are respected enough as
to just how difficult they are to write, and I
really cant be bothered anymore.
Your producer on this said that alcohol is at

the genesis of many of your projects. Was alcohol
at the genesis of War on Everyone?
No, but I continued my casting remit of
only hiring actors who like a good booze-up.
Brendan, Don Cheadle, Mark Strong, Chris
ODowd, Kelly Reilly, Caleb Landry Jones,
Tessa Thompson theyll never say no
to a few pints. I actually cast Alexander
not because of his great performances in
Melancholia, Disconnect or What Maisie Knew
but because I saw a YouTube video of him
drunk at a Hammarby football match trying
to incite the crowd.
Is it true you wrote Penas character
with the actor in mind?
I loved Michael in End of Watch,
but I wanted to work with him
because of his now-legendary
performance as Dennis, one of
the security guards, in Jody Hills
Observe and Report. Im not
gonna lie to you, Ronnie, theres
nothing good about this at all!
Thats one of the best U.S. movies
of the past 10 years.
D2_Berlin_QA_mcdonagh_H.indd 10
You once described the first scene of Calvary,

in which Gleesons priest is told he has seven
days to live, as your cheaper version of a Michael
Bay pre-credit opening sequence. Does War on
Everyone have any more Bay-esque moments?
Yes, I have an automobile assault on a strip
club that turns into an extended chase
sequence across Albuquerque. However, it
involves a Mariachi band, a stripper with a
python and a very large dude on a mobility
scooter. I dont think Michael Bay has ever
attempted that, except maybe in Pain & Gain.
Which was a good film, by the way.
supposed to respect the law but dont actually

give a shit, are always funny. Thats why Duck
Soup is one of the funniest movies ever made.
Could you see yourself directing a big-budget film?

Im sent scripts for them all the
time, but unfortunately, theyre
BY THE NUMBERS
not written to a high-enough standard. Or theyre not written to the
high standard of my writing, lets
Feature films directed
say. Producers seem to prefer to
persevere with scripts filled with
outright banalities.
3
1
Screenplays he wrote that

became a film directed by
someone else Gregor
Jordan on Ned Kelly (2003)
$36.5M
Box office for The Guard
(2011) and Calvary (2014)
10
And what about television?

TV cant afford me too little
money offered for too much work.
Id rather sit in the sun with a
cold beer and a hot blonde.
EFE/NACHO GALLEGO/NEWSCOM
N T H E SPACE OF J UST T WO F I L MS,
The Guard and Calvary, John Michael

McDonagh has carved out a niche for a
brand of comedy that sits prominently at
the darker end of the color spectrum. With
War on Everyone, the London-born writer-director is at it again, but this time hes
swapped the lush greens of rural Ireland for
the reddish hues of New Mexico. A jet black
comedy, the film having its world premiere in Berlins Panorama section stars
Michael Pena and Alexander Skarsgard as
corrupt cops out to blackmail every criminal
they meet. Here, McDonagh tells THR about
his beer-based casting process and going all
Michael Bay, but with a mariachi band.
2/11/16 11:49 AM
2016-BERLIN-Hollywood-Fri_Sat_Sun.pdf
09/02/16
11:35
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FOR BUYERS, BY
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TODAY, Friday 12th
at 16:45 at CineStar 5
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OUR LOVERS
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2015 / 104
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2/9/16 3:47 PM
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INTERNATIONAL PREMIRE SCREENING:

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BOOKS AT BERLINALE
THE KIDS ARE ALRIGHT

The only book-to-film market at a major film festival celebrates its 10th anniversary
with an emphasis on childrens and YA literature. The 10 titles chosen to be spotlighted
at the fest were selected from 130 submissions representing 25 countries
BY ANDY LEWIS
DER TRICK
By Emanuel Bergmann
HOOL
By Philipp Winkler
SWITZERLAND
GERMANY
L.A.-based Bergmanns
debut novel, coming in
March, is about 10-year-old
Max, who befriends an old
Jewish man who was once
the Great Zabbatini, a legendary circus magician before
the rise of the Nazis. Max
believes in magic and sees
Zabbatini as the only
chance to get his estranged
parents back together.
The forthcoming debut novel

from Winkler, well-known
for his short stories, revolves
around a soccer hooligan.
ADAPTABILITY
THE EYES
OF THE LAKE
By Jessica Schiefauer
SWEDEN
The 2015 novel, pitched as

a YA spin on Nordic Noir,
won one of Swedens biggest
literary prizes. Twin stories
follow Esther and Isaks
youthful romance and
Isaks brother Anton falling
in with a group of violent
neo-Nazis.
ADAPTABILITY
ADAPTABILITY
THE ICE-CREAM
MAKERS
By Ernest van der Kwast
THE NETHERLANDS
The fourth novel from the

well-known literary author
already a hit in his native
country centers on an
Italian family of gelato makers
who run a summer shop in
Rotterdam and are rocked
when oldest son Giovanni says
he wants to be an author, not
an ice-cream maker.
ADAPTABILITY
Boy, a German kids classic

first published in 1975, is a
Pinocchio-like tale of an
eccentric woman with an
addiction to mail-ordering
stuff who mistakenly gets a
7-year-old boy in the mail.
Things get complicated when
the intended recipients want
their mail-order son back.
ADAPTABILITY
POPPYSEED
LEMON CAKE
By Cristina Campos
SPAIN
After 15 years, two estranged

sisters reunite on Mallorca,
where they grew up, to
dispense of a mysterious
inheritance a bakery and
mill from an unknown person
and in the process discover
family secrets and rebuild
their relationship.
KONRAD ODER
DAS KIND AUS DER
KONSERVENBUCHSE
By Christine Nostlinger
GERMANY
A ROBOT IN
THE GARDEN
By Deborah Install
Conrad: The Factory-Made
UNITED KINGDOM
how Andre retained his

sanity in such harrowing
circumstances.
ADAPTABILITY
SORAYA
By Meltem Ylmaz
TURKEY
ADAPTABILITY
The first novel from the

award-winning journalist
draws on her reportorial
work to tell the story of
Turkeys Syrian refugee camps
through the eyes of one
young girl.
RUN AWAY
By Guy Delisle
ADAPTABILITY
FRANCE
Now titled Hostage, the

May book from the awardwinning graphic novelist,
recounts the true story of
French aid worker Christophe
Andre, who was kidnapped
in Chechnya in 1997 and
held for ransom for four
months before escaping
when his captors forgot to
lock his cell door. Delisle,
whose earlier book,
Pyongyang, was in development with Gore Verbinski
and Steve Carell, emphasizes
ADAPTABILITY
D2_Berlin_Books_H.indd 14
Ben Chambers, a 34-year-old

stay-at-home husband, finds
a rickety robot in the back
garden and decides to find
out where it came from
and return it home to prove
to himself that he can achieve
something in his life. The
journey, which threatens his
marriage, takes him
to the far side of the globe
and changes him in ways he
never expected.
SPY TOYS
By Mark Powers
UNITED KINGDOM
In the first of a series, a

teddy bear, doll and robot
rabbit all with computerized brains are recruited
by Auntie Roz (the toy worlds
M) to save the British
prime ministers 8-year-old
son from being kidnapped.
ADAPTABILITY
14
2/11/16 11:50 AM
RAI COM D2 021216.indd 1
2/5/16 12:13 PM
Italy invests very little into

information and teaching, says
Manno, photographed Feb. 3
in her office in Rome.I would
like to teach this business to the
next generation in Italy.
EXECUTIVE SUITE
CO-FOUNDER & MANAGING DIRECTOR,

SUMMERSIDE INTERNATIONAL
Francesca Manno
The veteran Italian dealmaker discusses the sexy

side of international sales, the challenges of starting
a company and why her market is wary of Netflix
By Ariston Anderson
F T ER SERV I NG FOR N I N E
years as vp of Romes
Minerva Pictures, the
company responsible for
bringing any Nicolas Cage or
Steven Seagal film to Italy,
Francesca Manno has decided to
go off on her own. Her new shingle, Summerside International,
will focus on international sales
and co-productions and launch
in Berlin as its first major festival
with a slate of eight international
films. Its lineup of director-driven
projects range from an Italian
comedy to a German drama
to a Canadian thriller. Manno
also will partake in Berlins
Co-Production Market as a producer and financier, where shes
hoping to further expand her
slate. An experienced buyer and
seller at Minerva, Manno, 35, also
was involved in the companys
many co-productions, including
such recent features as the road
trip drama Just Like a Woman,
starring Sienna Miller and
Golshifteh Farahani, and Anna
(Per amor vostro), which won
the best actress award for
Valeria Golino at Venice last year.
The executive sat down with THR
in Rome to discuss how she plans
on launching Summerside in
Europe and beyond.
What did you enjoy most at Minerva

Pictures?
I was involved in almost everything. But honestly, international
sales always were kind of sexy
for me the way you promote
a movie, how you try to build
the life of a movie abroad. You
need to know people, and the
taste of each buyer, for each
territory. Of course, you have to
find something that is good for
them, and makes sense for you,
from an editorial point of view.
For my company now, I selected
very specific titles focusing on
human rights, children themes
and women. And then I also took
an Italian comedy, because the
director is a very international
director. So I hope this kind of
lineup will give my buyers the
idea of a very diverse lineup.
How did Minerva do things differently
from the competition?
Minerva was kind of a pioneer
in digital exploitation rights.
We were one of the first to sign a
deal with iTunes, for the digital
exploitation on our current titles.
So it was for all the titles coming
from the U.S. [and] Europe and
also for some top library titles, of
which we had more than 1,000.
Recently, we did not sign a deal
with Netflix; it was a business

choice.
Why not?
We preferred to understand
where Netflix is going first.
How do you think they are changing
the landscape in Italy?
I am not sure. I am not sure if
Italy is ready enough for Netflix.
First of all, because Italy is
divided, the south and the central
part and the north. For example, I come from the south of
Italy, and I can tell you that the
Internet connection is really bad.
So how can you benefit from an
offer like Netflix, or from other
digital offers, in a place where the
connection is not good? We need
to improve our infrastructure.
Thats the point.
Do you expect digital to play a big
role with Summerside?
Berlin will be the first market
for the company. I am really
curious to understand where all
these platforms are going. So
of course, I will meet the buyers of these platforms. [But] I
dont like the idea of putting the
titles in a mass digital space.
There should be something more
built, as an editorial structure.
Otherwise, you put your titles
there, and maybe the revenue is
not what you were expecting.
What made you decide that
Europe needed another international
sales company?
There arent so many domestic
international companies handling
the sales for international titles,
D2_Berlin_ExSuite_Manno_F.indd 16
16
in my opinion. In Italy, there are

many companies focusing on
Italian titles. We see what is happening in France, and the French
companies are No. 1 in the world.
And they handle all kinds of movies coming from many territories.
Thats why I decided to follow a
different way, from the standard
Italian way.
Do you find it difficult being a female
executive working in Italy?
I think its more difficult. I mean,
I see there are so many women in
our business, so many CEOs in
many big companies, not in Italy,
but in the U.S., for example, or in
France or the U.K. Yes, you can
find women. But, in Italy, its still
a bit slow.
Are you trying to change this?
I am trying to. For example, I
am the managing director of my
company.
What do you think will be the
biggest challenge with establishing
Summerside?
The most important thing is to
have the right idea. Sometimes,
you dont have money, but you
just have the idea. You know
exactly how you want to pitch the
idea. I think that with a computer
and a good Internet connection, we can do everything right
now. I dont like people crying
because they have no help from
the government, no help from
this and that. I have no help from
anyone. I am investing my money.
Im investing all the energy I can
put into these projects. Thats the
challenge.
PHOTOGRAPHED BY
Mattia Balsamini
2/11/16 11:56 AM
04/02/16
17:19
L'OISEAU DE LA NUIT / DIRECTOR: Marie Losier / PRODUCTION: IndieLisboa and Marie Loisier
AW_12Feb_GenericTchanLOiseau_HollywoodReporter_ICA.pdf
PORTUGAL
8 MOVIES
3 MOVIES IN COMPETITION
CONTACTS IN BERLIN: MARTIN GROPIUS BAU - 1ST FLOOR, BOOTH Nr. 138
MAIL@ICA-IP.PT // WWW.ICA-IP.PT
ICA D2 021216.indd 1
2/9/16 3:01 PM
SND-Groupe
M6s Vulcania
EFM SCREENING GUIDE

2016
FEB. 12
8:50 Little Grey Fergie

Country Fun, CinemaxX 19,
78 mins., Norway, Ireland,
Attraction Distribution
9:00 Touched With Fire,
CineStar IMAX, 107 mins.,
USA, Myriad Pictures
Being Charlie, CinemaxX 15,
97 mins., USA, Bobs Your
Uncle
A Living Promise, CineStar 7,
120 mins., Japan, Nippon TV
TrustNordisk Promo Reel,
CineStar 5, 100 mins.,
Denmark, TrustNordisk
Time Was Endless, CinemaxX
Studio 11, 85 mins., Brazil,
Germany, Rio Taruma Films
Summer of 92, CinemaxX 8,
93 mins., Denmark, United
Kingdom, HanWay Films
Harry Benson: Shoot First,
Kino Arsenal 1, 87 mins., USA,
Magnolia Pictures
9:15 The Weather Inside,
CinemaxX 18, 100 mins.,
Germany, Beta Cinema
Agnus Dei, CinemaxX 2,
115 mins., France, Poland,
Films Distribution
Free to Run, CinemaxX 13,
99 mins., France, Switzerland,
Belgium, Jour 2 Fete
Departure, MGB-Kino,
109 mins., United Kingdom,
France, Mongrel International
9:30 The Origin of Violence,
EFM Cinemobile, 111 mins.,
France, Other Angle Pictures
Short Stay, CinemaxX 6,
62 mins., USA, Forum/Office
The Mine, dffb-Kino, 94 mins.,
Finland, The Yellow Affair
Scratch, CinemaxX 3,
93 mins., Canada, Filmoption
International
Anna, Zoo Palast Club
A, 109 mins., Canada,
Summerside International
XYZ Promo Screening,
CinemaxX 9, 60 mins., USA,
XYZ Films
Under the Pyramid, Zoo
Palast Club B, 79 mins.,
Sweden, Netherlands, Idyll
French Cuisine, CineStar 6,
81 mins., France,
Studiocanal
Broken Vows, CinemaxX
14, 91 mins., USA, Cinema
Management Group (CMG)
9:40 The Beginners,

CineStar 2, 125 mins., Italy,
France, Films Distribution
9:45 The Curse of Sleeping
Beauty, Marriott 1, 87 mins.,
USA, Bleiberg Entertainment
Bilal, Zoo Palast 3, 115 mins.,
United Arab Emirates, Ambi
Distribution
Pali Road, CinemaxX Studio
12, 95 mins., USA, Arclight
Films
10:00 Solange and the
Living, CinemaxX 16, 67 mins.,
France, Wide
Ghost Mountaineer,
Estonia, Kopli Kinokompanii
4 Kings, Zoo Palast 2,
99 mins., Germany, Global
Screen GmbH
Siv Sleeps Astray,
Sweden, Netherlands, Svensk
Filmindustri
Help, I Shrunk My Teacher,
CineStar 1, 101 mins., Germany,
Austria, ARRI Media
Abulele, CineStar 8, 95 mins.,
Israel, Epic Pictures Group
10:15 Im Off Then: Losing
and Finding Myself on
the Camino de Santiago,
Germany, Global Screen
Portrait of a Serial
Monogamist, CinemaxX 19,
84 mins., Canada, MCE
Redistributors, Parliament,
Princ Films
Seasons, CineStar 4, 96 mins.,
France, Pathe International
10:30 Fannys Journey By
Invitation Only, Kino Arsenal
1, 98 mins., France, Indie Sales
How to Plan an Orgy in a
Small Town, CinemaxX Studio
11, 102 mins., Canada, Double
Dutch International
10:40 Vulcania, CinemaxX
8, 91 mins., Spain, Sweden,
France, SND-Groupe M6
10:45 In Your Dreams!,
CinemaxX 15, 79 mins., Czech
Republic, Slovakia, Bulgaria,
Negativ
Family Lies, CinemaxX 1, 82
mins., Estonia, Filmivabrik
Yoga Hosers, CinemaxX 9,

88 mins., USA, XYZ Films
In the Last Days of the City,
CinemaxX 6, 119 mins., Egypt,
Still Moving
Load, Kino Arsenal 2,
90 mins., Mexico, Spain,
Latido Films
11:45 The Look of a Killer,

Parliament, 95 mins., Finland,
Eyewell
Pattaya, CineStar 1, 97 mins.,
France, Gaumont
A Good Wife, CinemaxX
19, 95 mins., Serbia, Films
Boutique
11:00 Extremis, Zoo Palast

Club B, 90 mins., United
Kingdom, GSP Studios
International
Walking Distance, CinemaxX
13, 104 mins., Mexico, Pluto
Film
11:50 Barcelona Christmas

Night, CinemaxX 17, 105 mins.,
Spain, Filmax International
Back to Moms!, CineStar
2, 92 mins., France, Pathe
International
Rupture, Zoo Palast 3,
102 mins., USA, Luxembourg,
Canada, Ambi Distribution
11:10 Underfire: The

Untold Story of Pfc.
Tony Vaccaro, dffb-Kino,
70 mins., USA, Cargo Film &
Releasing
Brothers of the Night,
Austria, Wildart Film
11:15 Italian Race, CinemaxX
3, 119 mins., Italy, Fandango
Life on the Line, Zoo
Palast 4, 97 mins., Canada,
Voltage Pictures
Urfin and His Wooden
Soldiers, CineStar 7, 55 mins.,
Russia, Wizart
12:10 Film.Ua Group.

Theatrical Releases 2016,
CinemaxX 1, 33 mins., Ukraine,
Film.Ua Distribution
11:20 My Friend From the

Park, CineStar 6, 85 mins.,
Argentina, Uruguay, Visit Films
12:15 The World of Us By

Invitation Only, CinemaxX
15, 95 mins., South Korea,
FINECUT
11:30 Clean Hands, EFM

Cinemobile, 108 mins.,
Netherlands, Wide
Inside the Mind of Favela
Funk, CinemaxX Studio 12,
68 mins., Netherlands, Doc &
Film International
12:20 The Demons, CinemaxX

Studio 11, 118 mins., Canada,
Be for Films
Promoreels Wild Bunch,
CineStar 4, 75 mins., France,
Wild Bunch
Mafia: Survival Game
D2_BERLIN_SG B.indd 1
12:00 Promoreels Insiders,

Insiders
Colonia, Zoo Palast 2, 110
mins., Germany, Luxembourg,
France, Beta Cinema GmbH
The Call Up, CinemaxX 5,
Altitude Film Sales
3D, CineStar 7, 100 mins.,

Russia, Planeta Inform Film
Distribution
Embers, Kino Arsenal 2,
86 mins., USA, Poland, Chaotic
Good
12:25, Rhubarb, dffb-Kino,
70 mins., Netherlands, Dutch
Features Global Entertainment
12:30 Shelley, CinemaxX 2,
92 mins., Denmark, Sweden,
Indie Sales
The Terrible Privacy of Mr.
Sim, CinemaxX 9, 101 mins.,
France, SND-Groupe M6
Mapplethorpe: Look at
the Pictures, CinemaxX 8,
108 mins., USA, Germany,
Dogwoof
12:40 Beyond Skyline, Zoo
Palast Club B, 20 mins., USA,
Red Sea Media
Much Loved, CinemaxX 18,
104 mins., France, Morocco,
Celluloid Dreams
12:50 Eva Nova, CinemaxX
13, 106 mins., Slovakia, Czech
Republic, Loco Films
The Lure, CineStar IMAX, 92
mins., Poland, WFDiF Doc. &
Feature Film Studio
We Are Never Alone,
CinemaxX 14, 104 mins., Czech
Republic, France, Wide
13:00 A Holy Mess, CineStar
5, 108 mins., Sweden, Svensk
Filmindustri
13:10 Beyond the Known
World, CinemaxX Studio 12,
102 mins., New Zealand, India,
18
2/11/16 6:41 AM
Yellow Affair Half 2 D2 021215.indd 1
2/4/16 12:00 PM
Yellow Affair Half 1 D2 021216.indd 1
2/4/16 11:59 AM
Yellow Affair Partials D2 021216.indd 1
2/11/16 10:53 AM
EFM SCREENING GUIDE

2016
Arclight Films
Illegitimate, CinemaxX 16,
89 mins., Romania, Poland,
France, Versatile
13:15 The Complexity of
Happiness, CinemaxX 1,
118 mins., Italy, Rai Com
Kill Command, CinemaxX 3,
Protagonist Pictures
Money, Zoo Palast Club B,
86 mins., USA, Red Sea Media
13:20 The Dark Side of the
Moon, CinemaxX 19, 97 mins.,
Germany, Luxembourg,
Picture Tree International
13:30 Michael Jacksons
Journey From Motown to
Off the Wall, Zoo Palast 5,
94 mins., USA, Optimum
Productions
Josephine, Pregnant
& Fabulous, CineStar 1,
100 mins., France, TF1
International
Land of the Enlightened,
CineStar 2, 88 mins., Belgium,
Ireland, Germany, Films
Boutique
God Willing, Parliament,
87 mins., Italy, Intramovies
Scare Campaign, EFM
Cinemobile, 81 mins.,
Australia, Films Distribution
TrustNordisk
Off Piste, CinemaxX 8,
93 mins., France, SND-Groupe
M6
One Breath, CinemaxX 18,
101 mins., Germany, Greece,
ARRI Media
My Scientology Movie,
CinemaxX Studio 11, 99 mins.,
United Kingdom, HanWay
Films
Christmas Eve, Marriott 1,
95 mins., USA, Bleiberg
Entertainment
14:40 The Roomates Party,
France, Other Angle Pictures
Second Origin, CinemaxX 14,
107 mins., Spain, United
Kingdom, DeAPlaneta
14:50 The Prosecutor the
Defender the Father and His
Son, CinemaxX 13, 105 mins.,
Bulgaria, Netherlands,
Sweden, Eastwest
Filmdistribution
Team Spirit, CineStar 5,
100 mins., France, Le Pacte
15:45 Sophies Misfortunes,

Gaumont
Heatwave, CinemaxX 15,
103 mins., France, Belgium,
Doc & Film International
16:00 Babai, Zoo Palast 2,
104 mins., Germany, Kosovo,
Macedonia, Heretic
16:10 The Last Will Be Last,
CineStar 6, 103 mins., Italy,
True Colours
Saving Mr. Wu, CinemaxX 2,
106 mins., Hong Kong, China,
Golden Network Asia
16:15 Evolution, CineStar
IMAX, 83 mins., France,
Wild Bunch
River, Marriott 1, 88 mins.,
Canada, Laos, Thailand,
Kaleidoscope Film Distribution
16:20 California, CinemaxX
Studio 11, 91 mins., Brazil,
Films Boutique
13:45 Kampai! For the Love of

Sake, CinemaxX 17, 95 mins.,
Japan, USA, Fortissimo Films
Stalkher, dffb-Kino, 90 mins.,
Australia, Bobs Your Uncle
15:00 28:94 Local Time,

Zoo Palast Club B, 100 mins.,
Armenia, Studio DS
The Most Beautiful Day,
Germany, Picture Tree
International
True Colours Promo Reel,
CineStar 6, 21 mins., Italy, True
Colours
The Tuche The American
Dream, CinemaxX 3, 100
mins., France, Pathe Intl
Films Distribution Promo
Reel, CinemaxX 19, 55 mins.,
France, Films Distribution
13:50 The Evil That Men

Do, Kino Arsenal 2, 93 mins.,
Spain, The Annex Ent.
15:15 The First, the Last, EFM

Cinemobile, 98 mins., France,
Belgium, Wild Bunch
14:00 Democracy, Zoo Palast

2, 105 mins., Germany, Doc &
Film International
Thank You for Calling,
CinemaxX 15, 98 mins., France,
WTFilms
15:20 Deep in the Wood,

CinemaxX 1, 90 mins., Italy,
Minerva Pictures Group
16:45 Kalinka, CinemaxX 3, 87

mins., France, Studiocanal
Our Lovers By Invitation
Only, CineStar 5, 90 mins.,
Spain, Filmax International
Kids in Love, Zoo Palast 4,
Carnaby International Sales &
Distribution
13:40 Monsieur Chocolat,

Gaumont
14:15 Fast Convoy, CinemaxX

2, 102 mins., France, Indie
Sales
14:30 The Last King, CineStar
IMAX, 98 mins., Norway,
15:25 The Correspondence,

Kino Arsenal 2, 122 mins., Italy,
Umedia International
15:30 Nika, Parliament,
95 mins., Slovenia, Slovenian
Film Centre
Francis, dffb-Kino, 105 mins.,
Argentina, Spain, Filmsharks
18:45 Before the Streets,

MGB-Kino, 98 mins., Canada,
Wide
Hunky Dory, CinemaxX 10,
88 mins., USA, Homme Fatale
Films
17:15 Zud, CinemaxX 10,

85 mins., Germany, Poland,
Slingshot Films
Homecoming, CinemaxX 19,
103 mins., Finland, The Yellow
Affair
18:50 Two Buddies and a

Badger, CinemaxX 1, 75 mins.,
Norway, Sweden, Sola Media
The Scarapist, CinemaxX 17,
81 mins., USA, XVIII
Entertainment
17:20 Tempestad, dffb-Kino,

105 mins., Mexico, Cinephil
19:00 The New Kid, Kino

Arsenal 2, 81 mins., France,
Indie Sales
17:30 Buddhas Little Finger,

Kino Arsenal 2, 84 mins.,
Germany, Canada, USA,
Filmoption International
Trivia No Press, CineStar
2, 97 mins., Hong Kong, China,
Media Asia Film Distribution
17:40 Tomorrow, CineStar 4,
118 mins., France, Elle Driver
18:00 The Memory of

Water, CinemaxX 2, 88 mins.,
Chile, Spain, Argentina,
Germany, Global Screen
Despite the Night, CinemaxX
Studio 11, 155 mins., France,
Films Boutique
Untitled Usain Bolt
Documentary Promo,
CineStar IMAX, 60 mins.,
United Kingdom, Independent
Creepy, CineStar 6, 130 mins.,
Japan, Shochiku
16:40 The Diary of FirstGraders Mom, CinemaxX 13,

79 mins., Russia, Igmar
18:10, Go Home, CinemaxX 14,

98 mins., France, Switzerland,
Belgium, Wide
18:20 Mr. Gaga, CinemaxX
16, 100 mins., Israel,
Heymann Brothers Films
I Promise You Anarchy,
Mexico, Germany,
Latido Films
Kids in Love, CineStar 5, 83
mins., U.K., Carnaby Intl
Sales & Distribution
17:00 The Wounded Angel,

EFM Cinemobile, 113 mins.,
Kazakhstan, France, Germany,
Capricci Films
La vache, MGB-Kino,
96 mins., France, Pathe
International
18:30 Lost & Beautiful,

The Match Factory
17:10 Jacqueline (Argentine),

Parliament, 88 mins., USA,
Visit Films
No Solicitors, CinemaxX 17,
99 mins., USA, VMI Worldwide
17:50 Radio Dreams, Marriott

1, 91 mins., USA, Reel Suspects
Hetman, CinemaxX 15,
125 mins., Ukraine, Zlagoda
16:30 The Tag-Along,

Taiwan, Ablaze Image
Strange Heaven, CinemaxX
18, 106 mins., Poland, Media
Move
Mellow Mud, CinemaxX 16,
105 mins., Latvia, Pluto Film
D2_BERLIN_SG B.indd 2
A Melody to Remember,
South Korea, Contents Panda
(Next Entertainment World)
International
Fortune Favors the Brave,
Germany, Attraction
Distribution
19:05 Bone Tomahawk,

CinemaxX 19, 134 mins., USA,
Celluloid Dreams
19:10 Exodus to Shanghai,
dffb-Kino, 84 mins., United
Kingdom, Austria, FashionTV
The End (The Wandering),
France, Gaumont
19:20 In Search of the UltraSex, CineStar 2, 60 mins.,
France, The Bureau Sales
19:45 Palm Trees in the
Snow, CineStar 4, 161 mins.,
Spain, Film Factory
Entertainment
19:50 Quo vado?, CineStar 1,
86 mins., Italy, Taodue
20:10 Cloudy Sunday,
CineStar 5, 116 mins., Greece,
Feelgood Entertainment
FEB. 13
9:00 Parasol, KinoArsenal 1,

73 mins.,Belgium, Be for Films
Behemoth, CinemaxX 8,
90 mins., France, Studiocanal
A Violent Prosecutor,
CineStar 4, 125 mins., South
Korea, Showbox
The Stuff of Dreams,
Amadeus Entertainment
Roommates Wanted,
CinemaxX 9, 96 mins., France
Drive She Said aka Amateur
Night, CinemaxX 1, 93 mins.,
USA, The Works
20
2/11/16 3:30 AM
9ers Entertainment D2 021216.indd 1
2/11/16 2:07 PM
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2/2/16 11:07 AM
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R E V I E WS
As actor, writer and
director, Cheadle
puts together an
impressionistic
portrait of Davis.
Miles Ahead
Don Cheadle casts himself as jazz genius Miles Davis in his messy but evocative bio-drama
set during the trumpeters lost days in the late 1970s BY DAVID ROONEY
ON CH E A DL E DEF T LY SI DE ST EPS T H E PEDE ST R I A N
potholes of the biographical drama in his debut as

writer-director, Miles Ahead, also taking on the role
of mercurial 20th century jazz innovator Miles Davis.
If youre gonna tell a story, man, come with some
attitude, the reclusive protagonist instructs a bamboozling reporter
on the trail of a comeback piece. Dont be all corny with this shit.
Cheadle honors that advice in a film thats loose often to the point
of messiness. But its free-form riffs on highs and lows from the
musicians life are a fine example of structure emulating the everevolving style of an artist defined by unrelenting experimentation.
Cheadle shares writing duties with Steven Baigelman, who had a
story credit on the similarly unconventional 2014 James Brown biopic,
Get On Up. Miles Ahead doesnt have an outrageously flamboyant,
fourth-wall-breaking central figure to match that pic, and Cheadles
approach makes it clear from the outset that Davis was too elusive
3 QUESTIONS WITH DON CHEADLE

By Scott Roxborough
It look a long time to get this film made; you

even used crowdfunding at one point to
complete the budget. What scared financiers about this project?
This would be a great point of departure for
a whole interview about the studios and the
people who finance movies and the metrics
that they use to determine whether a film is
going to sell oversees and sell domestically,
whether its a good risk. For this film, what
came back was: jazz is a niche subject matter.

Period films are challenging. And its black.
Whats really come out of the last couple of
weeks (with the #OscarsSoWhite contro
controversy) is the curtain has been pulled back and
shown how these things work.
This is a biography, but you mix fact with fic
fiction, inventing some characters and scenes.
Why did you chose this approach?
a man for straightforward portraiture. (Davis even rejects the term

jazz, preferring social music.) But his tribute to the artist is
energized at every step by a fitting improvisational spirit, echoed
onscreen in Davis performances.
The films entry point is the five-year gap in Davis output during
the second half of the 1970s, when the musician remained holed up in
his New York home, besieged by chronic pain from a degenerative hip
condition and addled by drugs. The script uses the familiar figure of
a journalist to get a literal foot in the door, when Dave Braden (Ewan
McGregor), claiming to be on assignment from Rolling Stone, doesnt
let a punch in the nose deter him from a juicy story. The existence
of an unheard session tape that falls into the hands of unscrupulous
record producer Harper Hamilton (Michael Stuhlbarg), and Miles
reckless attempts to recover it, drive much of the late-70s action.
Braden gets around Davis disdain for reporters by hooking him up
C O N T I N U E D O N PA G E 2 4
I was trying to craft a story about a person,

again in the way we wanted for our narrative.
an artist, and facts are not nearly as imporI think not only were we justified to do things
tant as the truth of this person and how he
in that way but we were directed to do so by
approached his music. That was the core;
Miles Davis.
it wasnt him but his music and how he
approached his music. Miles mantra
When Miles Ahead and your
was, Dont repeat yourself, dont go
performance are nominated for
back, always go forward. I was trying
an Oscar next year, who do you want
to get his spirit. Theres plenty of facto park your car at the Academy
Cheadle
tual stuff in the film, but what we did was
Awards ceremony?
we took the facts and the ideas we had and
Ill guess Ill get Chris [Rock] to do it. If Im
we threw the pieces up into the air and then
going to park his car for him this year, hell
we put the pieces of the puzzle back together
have to do it for me next time.
D2_Berlin_rev_Miles_D.indd 1
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2/11/16 5:25 AM
REVIEWS
C O NTI NUE D FRO M 2 3
with some primo blow in an amusing scene with a trust-fund brat

(Austin Lyon) dealing on the Columbia campus who happens to
be a fan. The interaction of reporter and subject becomes a lesson
in expanded perspective for Braden, as his preconceptions about
jazzs Howard Hughes are broken down. He gets to witness
firsthand the bullying strategies of the record company and the
opportunism of friends and lovers who exploit Davis celebrity.
For his part, Davis is subject to constant triggers that transport
him to earlier decades, whether performing, working in the studio
or reliving his marriage with dancer Frances Taylor (Emayatzy
Corinealdi), who became his muse until the relationship
disintegrated because of his drug use, violence and infidelity.
These scenes are not the usual tidy flashbacks. Instead, editors
John Axelrad and Kayla Emter weave them in impressionistically
as spontaneous fragments from the past some whole and lucid,
others fleeting glimpses filtered through the confusion of Davis
current reality. Music also shapes the wash of recollections,
seamlessly fusing Robert Glaspers score with Davis recordings
(particularly strong use is made of excerpts from Sketches of
Spain), while cinematographer Roberto Schaefer, production
designer Hannah Beachler and costumer Gersha Phillips all work
within a stylish retro color palette, providing visual harmony in a
film that often juggles different decades within a single scene.
The writers employ an additional device to explore Davis past,
albeit in cursory fashion, introducing the meta-fictional character
of Junior (Lakeith Lee Stanfield, from Short Term 12), a brilliant
young jazz trumpeter handled by Harper. The producers plan is
that Davis will do for this emerging artist what he did for John
Coltrane. But it quickly becomes clear that Junior is actually a
representation of Davis as a budding star.
This yields some lively sequences of controlled chaos as reality
and fantasy blur while Junior becomes an accomplice in the
plot by Davis and Braden to steal back the session tapes. Even if
Cheadle the director is less assured with the high-stakes, caperish car chases and gunplay, they reinforce the pics invigoratingly
jazzy disdain for chronological, just-the-facts storytelling.
The abstraction of the approach perhaps limits the scope
of Miles Ahead as an acting showcase, though Cheadles fully
inhabited characterization nails the subjects nicotine-scratched
rasp and his eccentric irritability and paranoia with discerning
understatement. More important, he conveys the idea of a man
who was always composing and arranging in his head, haunted as
much by past successes as personal failings.
McGregor brings humor and a renegade spirit to his boilerplate
role, keeping the line blurry between Bradens integrity and
self-serving duplicity. And the gorgeous Corinealdi (Middle of
Nowhere) figures as an object of both sensual and emotional
obsession, forced by the proprietorial Davis to sacrifice her own
goals as an artist.
Rather than build toward the neat conclusion of an emergence
from isolation, the movie gestures with economy toward Davis
return to creativity, with Junior acting as his guide. Closing
screen text lists Davis timeline as May 26, 1926 -, omitting the
date of his death in 1991. The suggestion that his influence will
endure forever is reflected also in a closing fantasy concert,
during which Cheadles Davis shares a stage with collaborators
like Herbie Hancock and Wayne Shorter as well as contemporary
performers including Esperanza Spalding and Gary Clark Jr.
Berlinale Special Gala
Cast Don Cheadle, Ewan McGregor, Emayatzy Corinealdi, Lakeith
Lee Stanfield, Michael Stuhlbarg
Director Don Cheadle // 100 minutes
Mapplethorpe:
Look at the Pictures
The controversial photographer receives full-blooded

treatment in this provocative documentary
BY STEPHEN FARBER
APPLETHOR PE: LOOK
at the Pictures opens

with a reminder of
the controversies that swirled
around Robert Mapplethorpe
25 years ago, when one of his
photography exhibits was
raided by the police and Sen.
Jesse Helms denounced him
in Congress. Time has rescued
the artist from the bluenoses,
and filmmakers Fenton Bailey
and Randy Barbato (The Eyes of
Tammy Faye) have discovered
a treasure trove of material to
bring Mapplethorpe who died
of AIDS in 1989 back to life.
Bailey and Barbato found
a number of audio recordings
by Mapplethorpe that they use
to punctuate the on-camera
interviews with family members, lovers and admirers.
Mapplethorpe comes across as
candid and unassuming, though
his ambition was always clear.
One of the obstacles and opportunities he faced was that when
he was starting out in the 1960s,
photography was not considered
quite in the same league as the
other visual arts. Robert began
as a gifted painter but then took
advantage of the growing interest
in the art of photography.
He had a celebrated affair
with singer Patti Smith, then
was adopted by art collector
Sam Wagstaff, who helped to
launch his career. Wagstaff
also died of AIDS, but many of
Mapplethorpes other lovers survive and speak openly about the
attractions as well as the unbridled ambition of the artist. Other
friends, including Fran Lebowitz
and Debbie Harry, contribute
valuable reminiscences. But perhaps the most telling interviews
come from Mapplethorpes family, especially his younger brother
Edward, another photographer
and artist who had a competitive
and difficult but always loving
relationship with Robert.
One question that isnt
raised by any of these witnesses
D2_Berlin_rev_Miles_D.indd 2
Mapplethorpes
Ken Moody
(left) and
Robert Sherman
from 1984.
concerns the lasting value of

Mapplethorpes art. His celebrity
portraits are undeniably striking, and his celebrations of black
men also have sociological as
well as aesthetic value. But in
confronting the sadomasochistic
photographs that riled the censors, the issues are more complex.
Its somewhat comical to hear
the distinguished curators from
the Getty and LACMA pontificate about the aesthetic line of
the bullwhip that Mapplethorpe
inserted into one of his infamous
pictures. The artist certainly succeeded in his desire to shock, but
do these photographs really have
the artistic brilliance that the
curators claim?
Free speech is a separate and
valid issue that Mapplethorpe
certainly championed. No one
(except perhaps a few of this
years presidential candidates)
would want to ban art for shocking the squeamish, but the
artistic merit of photographs that
depict foreign objects inserted
into various bodily orifices is a
whole other matter. At least the
film allows viewers to come to
their own conclusions on these
aesthetic questions; the subtitle Look at the Pictures does
not tell us what to think. But
Mapplethorpes admirers may not
realize that even the most liberal
audience members can harbor
a few qualms about their heros
place in the pantheon.
Panorama Documents
Directors Fenton Bailey, Randy
Barbato // No rating, 108 minutes
24
2/11/16 5:27 AM
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REVIEWS
Chi-Raq
Spike Lees latest is a vibrant and

sexy, if uneven, take on Chicagos
epidemic of gun violence
BY TODD MCCARTHY
R OVOCAT I V E LY USI NG
Aristophanes ever-timely
2,426-year-old play Lysistrata
as a way to address the ongoing
plague of shootings on the
South Side of Chicago, Spike Lee serves
up an odd gumbo teeming with political
activism, melodrama, verse dialogue, rap,
history, comedic caricature, moral guidance
and steamy sex (later withheld) in Chi-Raq.
Even if the now-veteran director lays everything on a bit thick, repeatedly makes many
of the same points and lets things go on too
long, hes still found a lively and legitimate
way to tackle an urgent subject matter that
other filmmakers have found excuses to avoid.
As far as big-screen features go, in the
decade since his last big commercial success
with Inside Man, Lee has stumbled with several unlikely and/or ill-advised projects, from
Miracle of St. Anna and Red Hook Summer to
Old Boy and last years Da Sweet Blood of Jesus,
none widely seen. The least you can say about
Chi-Raq is that it vaults Lee back into a position of cultural/political relevance similar to
that which he held a generation ago, just as
it sees him making some bold creative moves,
especially with the dialogue.
Lysistrata, of course, hinges on one of dramatic literatures imperishable premises, in
which the women of Athens undertake a sex
strike as a way to persuade their men to end
the Peloponnesian War.
In Lees film, the sassy and confrontational
women concisely convey their demand in a
simple slogan: No Peace, No P****. Its easy
to imagine how the boyz n the hood react
to this idea, but it catches on, which frees
Lee and his co-screenwriter Kevin Willmott
to attach numerous affiliated and troublesome issues to their busy social agenda:
black-on-black violence, gun control, bought
politicians, numbness to violence, the commercial and moral gutting of neighborhoods,
Parris leads a sex

strike in hopes of
achieving peace.
neglected veterans, homeless and the untold

other ills people live with in the shadows of a
great citys imposing downtown.
Serving as ringmaster/m.c./one-man
chorus is Samuel L. Jacksons Dolmedes,
a neighborhood sage whose outfits change
with every appearance and whose rhyming
raps philosophically frame the action and
beguilingly massage the ear to welcome the
rhythms in which the dialogue will be
delivered for the next two-plus hours. The
verse exchanges admittedly sound odd at first
coming from the mouths of would-be rapper
and Spartan gangsta Demtrius Chi-Raq
Dupree (Nick Cannon) and his beautiful
girlfriend Lysistrata (Teyonah Parris) as
they get it on before her apartment is
firebombed by Chi-Raqs rival, Trojan gang
leader Cyclops (Wesley Snipes).
But after a few moments, the rhyming and
phrasings begin to work their charm. Some
of the actors are better at delivering it than
others, but overall it bestows the film with
a kind of singular modern status and appeal,
just as it connects with the venerable spoken
word tradition.
Dolmedes intro apart, the films opening is all sex and violence, culminating in
the accidental drive-by shooting death of
the 11-year-old daughter of Irene (Jennifer
Hudson). But then the spotlight shifts to
local politics, general civics and, for the
women, an innovative attempt to change the
world by any means necessary. Lysistrata,
now camped out at the apartment of bookish
veteran activist Miss Helen (Angela Bassett),
TOP 5 SPIKE LEE FILMS BY SHERI LINDEN
1. When the Levees

Broke (2006)
A mournful depiction
of government
ineptitude and
Americas racial and
class divides.
2. Summer of Sam
(1999)
His most underrated
film, about the David
Berkowitz murders,
features a superb
turn by Adrien Brody.
3. Do the Right
Thing (1989)
The explosive, funny,
sad portrait of
simmering tensions
in Bed-Stuy is a
cinematic landmark.
4. Clockers (1995)
This exquisitely
acted crime drama
set in a Brooklyn
housing project
achieves a gritty,
operatic intensity.
5. Inside Man
(2006)
What makes this
bank-heist flick tick is
Lees keen grasp of
the bristling nerves in
post-9/11 New York.
D2_Berlin_rev_Chiraq_F.indd 26
initiates the movement, which starts locally

but eventually goes global as colorfully seen
on TV news snippets from around the world.
Considerable time is given to a passionate sermon by a local activist priest (John
Cusack), but it falls to the womens no-access
policy to produce results.
At this point, unfortunately, Lee and
Willmott put undue emphasis on buffoonish low comedy, for which they have little
feel. When the women decide to occupy the
large nearby armory building, the effort is
spearheaded by Lysistratas pretend seduction of the boss, the old white-bearded (and
white) General King Kong (shades of Dr.
Strangelove) who, quite unhilariously, is
stripped down to his Confederate flag-style
underwear and made to mount a phallic
cannon and whistle Dixie.
This embarrassing sequence is shortly
followed by equally base would-be hilarity featuring the citys big business-obsessed mayor,
whos made to look like almost as big a fool as
King Kong but sticks around for much longer.
It may not seem entirely coincidental that
these bad stretches both focus on white power
figures, but thats not the problem; almost
equally lame is the silly comedy the director
tries to elicit from Snipes, whose odd sniveling
is as embarrassing as it is unconvincing.
The other issue with these interludes is
that they remove the central characters
from the stage for too long a period. The narrative becomes too fractured and, as a
result, the film loses momentum and focus
in the second half.
The performances, vibrant and varied
music, colorful costumes and seldom-seen-inmovies locations provide a full sensory meal,
even as the end result could have been more
powerful and less discursive by losing perhaps
15 minutes of running time.
Out of competition
Cast Nick Cannon, Wesley Snipes, Teyonah
Parris, Jennifer Hudson, Steve Harris, Harry
Lennix, D.B. Sweeney, Angela Bassett, John
Cusack, Samuel L. Jackson
Director Spike Lee // 127 minutes
26
2/11/16 12:53 PM
th
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MGB 107 sales@planeta-inform.com
Franklin Management D2 021216.indd 1
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P RO M OT I O N
JUNE 12, 2015
LAWSUITS, SECRET MEETINGS, REVENGE

UTAs midnight raid on CAA was just the tip
of a new Hollywood power struggle as
private equity and pressure to grow by (almost)
any means redefine the cutthroat talent business
THE INSURGENTS
From left: UTAs David Kramer,

Jay Sures and Jeremy Zimmer
WHATS UP WITH
WONDER WOMAN?
Warners Greg Silverman answers

that question and much more
E XCLUSIVE PHOTOS
SUMNERS 92ND
BIRTHDAY BASH
Les Moonves, Philippe Dauman

and the girlfriends party
AGENCY
19cover_l [P]{Print}.indd 2
WARS
The Breakfast Club The ball-busting quartet sitting in the corner by the window in the
dining commissary at the MPTF Country Houses Fran and Ray Stark Villa started as a table for two:
David Kramer, 81, began dining with Mickey Callan, 79, soon after the latter moved to the campus. Then
Bridget [Swackhamer] showed up and Mickey hit on her and then changed his mind, then I hit on her
and I wasnt going to let her go, Kramer says. We left our original table and took a place where the
three of us could be together, and Stuart [Damon] asked one day, Could I join your table? and we just
stood up and we applauded and he sat down and that was it. The four (three stars and a press agent,
says former publicist Kramer of his retired actor pals) have met every weekday since. At 8 a.m., the
game is on: This is the table of hooligans, says Damon, 78. Sarcasm reigns. We dont listen to each
other we also dont hear each other! Notes Callan, We talk about our ex-wives. Swackhamer,
74, jumps in to object: No ex-wife here. Damon: Thats OK, we can always talk about your name; it
looks great on a marquee. Callan, as is often the case, has the last word: Two marquees!
5/28/15 6:22 PM
Mickey Callan
PREVIOUS SPREAD: BUILDING: WESLEY MANN. THIS PAGE: POOL: WESLEY MANN. HOPE, OPENING, AERIAL, GARDEN, KRAMER, SAMBERG: COURTESY OF MPTF. CALLAN:
COLUMBIA PICTURES/PHOTOFEST. DAMON, HANLEY: EVERETT COLLECTION. GROOMING BY MISHELLE PARRY AND ASHLEY DONOVAN AT CELESTINE AGENCY.
A Broadway star
(West Side Story) and
Columbia contract
actor, he appeared in
Cat Ballou with Jane
Fonda in 1965, among
other film and TV roles.
predictable propensity among residents to ham

it up (Johnny Weissmuller was known to let out
his Tarzan call while walking around the campus
during his stay in long-term care) and equally
predictable carping about the new films screened
each Sunday and Thursday at the Louis B. Mayer
Theater (Nobody knows how to enunciate!
Nothings properly lit!). High-profile visitors
still come to connect with former colleagues. I
had lost track of Jan Sterling, who was my co-star
in Billy Wilders Ace in the Hole, says Douglas.
We had a wonderful time reminiscing, particularly about the scene where I choked her with a
fur piece and almost killed her. I visited her often
until her death [in 2004].
Foster, whose seven-figure gift financed an
aquatics therapy center that opened in 2006,
often visited her studio teacher Irene Brafstein
(who also taught Winona Ryder, Brooke Shields
and Molly Ringwald) in the hospital on campus.
I have a loyalty oath to the people who raised
me, says Foster. You talk to people there, and
its kind of a tapestry. Indeed, the MPTF is a
centrifuge of industry name-dropping (even if
those names might often be modified by late)
PHOTOGRAPHED BY
Wesley Mann
13fea_MPTF_L [P]{Print}.indd 67
Stuart Damon
He played Dr. Alan

Quartermaine on ABCs
General Hospital
for more than 30 years
(with stints on other
soaps and series
including Space: 1999).
Bridget Hanley
Swackhamer
David Kramer
He worked as a
publicist for stars
including Leslie Nielsen
(right, with Kramer in
the 1980s), Tony Curtis,
Farrah Fawcett
and Richard Harris.
She starred as Candy

Pruitt (here with Bobby
Sherman) on the 1960s
series Here Come the
Brides, and later was
on Harper Valley P.T.A.
unrivaled outside of Soho House. You still see

people networking, marvels Beitcher.
That networking often is therapeutic. The
setup there, it looks like a beautiful studio, says
Cynthia Sikes Yorkin, wife of 89-year-old directorproducer Bud Yorkin, who returned in March
to their Bel Air house under hospice care after his
18-month stay in Woodland Hills for treatment
for dementia. What was wonderful for Bud is
that he felt like he was on the lot. Everyone is in
show business. Those photos of the stars up on the
wall; its just like a commissary. He was talking
about his work. He felt like he was recognized, at
the pond, the rose garden. Even though he wasnt
able to engage in the same way conversationally
hes very cognizant, but he couldnt express it
it was so sustaining. It allowed him to have that
engagement in life that he wouldnt have been
able to have anywhere else.
That rose garden, by the way, came courtesy of
MPTF supporter Roddy McDowall, who attended
the Country Houses groundbreaking as a child
actor. As he was nearing death in 1998, McDowall
summoned Elizabeth Taylor and Sybil Burton
Richard Burtons wife at the time of his and
Taylors initial affair to his Fryman Canyon

estate: [The women] hadnt talked in all of those
years, says Scherer, who witnessed the occasion. Hes got a morphine drip. It turned out to
be his last real day of consciousness. He says
to them, You two are going to raise the money
for a rose garden together or Ill haunt you from
my grave. They looked at Roddy, and their
love of Roddy was greater than their hate for each
other. And the night we dedicated the garden in
2001, Elizabeth Taylor calls Sybil up and apologizes. Its the power of this place.
C O N T I N U E D O N PA G E 7 0
Casey Affleck, Taylor

Hathaway, Joseph Schilling, Anne
and Andy SambergGordon-Levitt
attended 2014s
Reel Stories, Real Lives
fundraiser
this years event
is April 25.
www.thr.com | THE HOLLYWOOD REPORTER
| 67
4/17/15 8:39 PM
18 WINS
LOS ANGELES PRESS CLUB 2015 NATIONAL

ARTS & ENTERTAINMENT JOURNALISM AWARDS
INCLUDING
BEST PUBLICATION & BEST WEBSITE
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Sheil gets into character

as Christine Chubbock.
REVIEWS
Kate Plays Christine
This absorbing docudrama hybrid is a unique portrait of

a reporter who shot herself live on air BY DAVID ROONEY
F T ER M ER GI NG CI N EM A
verite with melodrama

to blur the boundaries
separating performance from
reality in 2014s Actress, writerdirector Robert Greene again
travels that in-between zone in his
engrossing new docudrama. His
accomplice is the always interesting indie anti-star Kate Lyn Sheil.
She relocates to sun-bleached
Sarasota, Fla., to prepare to play
Christine Chubbuck, the local
newscaster who committed suicide on camera in 1974. But while
the project is ostensibly a stylized
70s soap, the documentary itself
is the vehicle. That makes this a
fascinating movie about acting
and storytelling, but also a curious meta-contemplation of our
voyeuristic attraction to tragedy.

Sheil, known for such indie
films as Listen Up Philip and
TV work in House of Cards, is an
intriguing screen presence. Her
somewhat elusive quality makes
her an ideal fit for Greenes study
in characterization via investigation and osmosis. Sheil appears
to reveal a lot about herself in the
project. Or is it all make-believe?
The deeper she gets into her
research, the more she disappears
into the character, a depressive living in a time when such
conditions were inadequately
diagnosed and treated.
The most tangible element
Sheil has to work with aside from
still photos is Chubbucks sign-off
from her final appearance on
the morning talk show, Suncoast

Digest: In keeping with Channel
40s policy of bringing you the
latest in blood and guts, and
in living color, you are going to
see another first attempted
suicide. She then put a bullet in
her head and died 14 hours later.
Sheils sleuthing to fill in the
gaps initially takes the form
of detective work, quizzing
locals for anything they recall
of the incident. Sheil also begins
the physical process of transformation. Greene punctuates
the research with dramatic
Cinecitta D2 021216.indd 1
D2_Berlin_rev_kateplays_D.indd 30
reenactments, finding parallels

between the roles of Chubbucks
mother, brother, colleagues and
the actors chosen to play them.
While the film could benefit
from trimming 10 minutes, its
intensity creeps up on you until
the final reenactment scene, in
which everyone is implicated in
questions about the legitimacy
of depicting real-life tragedies.
Forum
Cast Kate Lyn Sheil, Stephanie
Coatney, Michael Ray Davis
Director Robert Greene // 113 min.
30
1/28/16 10:22 AM
2/11/16 12:07 PM
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REVIEWS
Burroughs but that Brookner knew
how to talk to him, so he got closer
than most. Terrific archive material
shows Burroughs with contemporaries
such as Allen Ginsberg and Andy
Warhol, and Aaron Brookner bridges
past and present by inviting Tom
DiCillo and the eternally droll Jim
Jarmusch both of whom worked on
Burroughs: The Movie early in their
careers to reflect while poring over
outtakes.
Footage of other maverick artists of
the time Laurie Anderson, Frank
Zappa and Patti Smith, among them
enhances the loosely structured films
mosaic of a vibrant creative milieu.
Eclectic music choices also help evoke
that world. Rowland S. Howards vocals
on Still Burning, for instance, suggests a punk spirit that reaches across
different mediums and generations.
Theres a tacit nod to the importance of film preservation in Aaron
Brookners research into his uncles
follow-up project, Robert Wilson
and the Civil Wars. While Giornos
vigilance as a gatekeeper meant
the invaluable material from the
Burroughs film had been largely
untouched, almost everything relatThe life and work of Howard Brookner, a rising force in independent
ing to the Wilson film was destroyed
filmmaking cut down by AIDS in 1989 at age 34, gets poignant
or lost. Still, there are spellbinding
contextualization in this portrait by his nephew BY DAVID ROONEY
glimpses of the avant-garde theater
artists abortive attempt to stage a 12-hour epic opera for the 1984
N U NCLE HOWAR D, A N I N T ENSELY PER SONA L EX H U M AT ION
Summer Olympics in Los Angeles.
project with an emotional undertow that sneaks up and carries
Howard Brookner rarely appears to have been without a camera in
you along, director Aaron Brookner goes digging through the
his hand, and throughout the movie, his nephew threads warm, funny
outtakes of a 33-year-old nonfiction feature to flesh out the
moments from their family life as captured by his uncle, featuring the
ghost of his childhood hero. The subject is the late filmmaker
latters parents and grandparents.
Howard Brookner, best known for his 1983 documentary, Burroughs:
In more recent interviews, Elaine Brookner admits with wry selfThe Movie. The result, however, is not just a warm portrait of one
awareness to the classic Jewish mothers disappointment when her
man and his small body of work; its also a moving journey through a
son chose to pursue filmmaking instead of law. With a candor that
largely vanished New York, a gritty place where outsider artists and
excludes sentimentality, she describes coming to accept Howards
creative risk-takers came to connect and grow.
homosexuality and reveals that being charmed by his boyfriend, the
Looking back from the present day, Aaron Brookner points to the
writer Brad Gooch, nudged the process along.
loss of two beacons from the era as symbols of what Manhattan has
The subject to some degree remains inscrutable, though video
become: the Chelsea Hotel and St. Vincents Hospital. The Chelsea
diaries from Brookners final years, after he became HIV-positive, add
still stands but is undergoing a major upgrade, leaving behind its hisintimacy and insight, notably in the way his natural levity and warmth
tory of bohemian folly, while St. Vincents, where Brookners uncle
and thousands of others were treated for AIDS-related illnesses during appear undiminished. The picture that comes together is of a man who
as he explains in a moving letter to be read by his parents after his
the crisis years, has been torn down and replaced by luxury condos.
death lived his life exactly as he wanted, with no time for regrets. He
One of the most refreshing aspects of Uncle Howard is the younger
Brookners discreet respectfulness. Lovely home-movie footage of him seemed to accept his illness with calm forbearance, expressing sorrow
only for the people who would mourn him.
as a kid shows how he gravitated toward his fun, favorite uncle, but his
The films sketchiest section deals with Brookners move into narnarration throughout retains a reserve thats almost dispassionate. He
rative features with Bloodhounds of Broadway, when his health had
lets the deep emotional connection surface organically.
already begun deteriorating. That 1989 period piece was released
The most important key to accessing his subject lies in The
shortly after its directors death, no doubt hastened by the pressures of
Bunker, as William Burroughs called his Bowery apartment. Just as
the work and his decision to discontinue taking AZT in order to be able
the older Brookner had to get around the reclusive Burroughs notorito focus. Its understandable that Aaron Brookner chooses not to dwell
ous guardedness to make his film, so does his nephew have to win over
on the movies critical and commercial failure, but this part of the film
John Giorno, the caretaker of the partially converted YMCA space.
seems rushed. Still, theres a disarming generosity in the filmmakers
The dusty archive contained therein is a wealth of material with lots of
approach, and the docs beautiful final sequence rips your heart out.
footage of the handsome 25-year-old Howard talking with Burroughs
and other interview subjects between takes.
Panorama Documents // Director Aaron Brookner // 96 minutes
One associate observes that you were never on farting terms with
Aaron Brookner
(left) and Jarmusch
talk life and art.
Uncle Howard
D2_Berlin_rev_Howard_F.indd 32
32
2/11/16 2:43 PM
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REVIEWS
Starve Your Dog
Moroccan director Hisham Lasri tackles his countrys troubled

history in this visually dazzling experimental essay film
BY STEPHEN DALTON
A L L I NG SOM EW H ER E
between a docudrama
movie, an art installation
and an avant-garde theater piece,
the latest uncompromising work
by Moroccan auteur Hisham
Lasri is maddeningly pretentious.
But it also is a boldly ambitious
experiment, full of arrestingly
beautiful images and innovative
in-camera effects that ensure
it is always visually ravishing,
even when the narrative becomes
opaque and impenetrable.
Documentary, drama, visual
poetry and old newsreel footage are stitched together in the
episodic opening act. An old
woman rages at the camera in a
Casablanca square, protesting
poverty and hunger, wishing for
an earthquake to flatten all of
Morocco as divine punishment.
A shifty-looking man in a raincoat bursts into song at the side
of a busy road before dousing
his cellphone in gasoline and
torching it. A mad young woman

skips through the streets, lifting
her skirt for strangers in return
for money. Text scrolls across
the screen in English and Arabic
quoting Shakespeare, Daft Punk
and John Wayne Gacy.
When it finally gels into a
vaguely coherent plot, the drama
centers on a tense clandestine
interview between washed-up TV
journalist Rita (Latefa Ahrrare)
and Driss Basri (Jirari Ben
Aissa), who served as Moroccos
much-feared interior minister for
two bloody decades. Their meeting, in a noisy makeshift studio, is
interrupted by technical problems, loud background noises, a
failed assassination attempt and
angry objections from film crewmembers whose families suffered
terribly when Basri was in power.
The real Basri was a notorious
government enforcer in Moroccos
recent past, during the repressive period dubbed the Years of
Remainder
Omer Fasts feature debut is a striking

psycho-thriller about a young man
whose mind gets stuck on repeat
BY STEPHEN DALTON
A SED ON A M I N D -BEN DI NG CU LT
novel by Tom McCarthy, Remainder

riffs obsessively on philosophical
questions of repetition, replication and
memory. Directed by the Israeli-born video
artist Omer Fast, the film exhibits some of
the limitations that afflict most low-budget
debut features. But much like the novel that
inspired it, Fasts adaptation has the
potential to attract a broader audience,
and the good looks and modest marquee
appeal of Tom Sturridge (Far From the
Madding Crowd) may help.
The nameless hero (Sturridge) is a
young Londoner left both mentally and
physically shattered after a mysterious accident in which he was struck by
heavy debris falling from high above. As
he struggles to recover, he accepts an
offer from the company responsible to
pay him almost $10 million if he drops
all legal charges and never mentions the
accident again. Suddenly very rich, he
Much of the films drama centers

on a tense video interview.
Lead. He became right-hand

man to King Hassan II, masterminding the arrest, abduction,
jailing and murder of political
opponents. Exiled to France
when Hassans son Mohammed
VI took over in 1999, ushering in
a more democratic regime, Basri
died in Paris in 2007. But Lasris
fanciful fable rewrites the facts,
instead placing him under house
arrest for the past 15 years. Now
he has broken cover, apparently
planning to spill the secrets that
Moroccos current rulers would
rather keep hidden. Its a neat
conceit, allowing Starve Your Dog
Panorama
Cast Latefa Ahrrare,
Jirari Ben Aissa, Fehd Benchemsi,
Jalila Temlsi, Adil Abatorab
Director Hisham Lasri // 94 min.
uses this fortune to indulge his new obsession

with restaging vividly recalled events in forensic detail. Hiring well-connected fixer Naz
(Arsher Ali) as his project manager, he buys
an entire London block and recruits people to
play his neighbors, paying them to replay the
same mundane tasks on a loop.
It is never entirely clear whether these
large-scale theatrical reenactments are based
on real memories, or dreams, or even tricks
of the mind. But as our unreliable narrator
grows ever more ambitious and dictatorial,
he restages a violent shooting in his neighborhood, then replicates a full-scale bank
robbery on a giant set immaculately dressed
like a real London street. As these fake events
become more realistic, reality itself begins to

fray at the edges, with scenes and characters
and dialogue lines looped through the story
as recurring motifs.
Amping up the sex and violence, Fast
also adds an American femme fatale (Cush
Jumbo) and a pair of hard-knuckled detectives, adroitly nodding to film-noir thriller
tropes without sacrificing the novels essential
WTF weirdness. Fast also ends on a pleasingly
symmetrical twist that was not in the book yet
chimes well with its loopy rhythms.
For an artist-directed movie, Remainder is
disappointingly low on visual panache, painting London in drab and familiar tones, mostly
on a jittery hand-held camera. That said,
Fast has a good eye for sinister imagery,
Sturridge has a hard
especially the nightmarish otherness of
time distinguishing
blurred faces and multicolored all-over
dream from reality.
body stockings. Sturridges sulky antihero is less of a sociopath than in the
novel but still a callous narcissist, most
obviously in his haughty dealings with his
hired extras. The filmmakers are clearly
banking more on suspense than empathy
to keep viewers in their seats.
Panorama // Cast Tom Sturridge,
Cush Jumbo, Ed Speleers, Arsher Ali
Director Omer Fast // 97 minutes
D2_Berlin_rev_dog+remainder_E.indd 34
to draw uncomfortable parallels

between the old and new regimes.
More like a sketchbook of great
stylistic ideas than a fully realized drama, Starve Your Dog is
an endurance test in places. But
once you surrender to its idiosyncratic mannerisms, it becomes a
quietly mesmerizing statement of
intent from a strong new voice in
Arab cinema.
34
2/11/16 2:40 PM
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8 Decades of The Hollywood Reporter

The most glamorous and memorable moments from a storied history
Travolta came to Berlin a

couple months after winning
his only Golden Globe.
OH N T R AVOLTA
brought Chili Palmer to

chilly Berlin in 1996 when
Get Shorty screened in
competition at the 46th Berlin
Film Festival. The movie, about a
mobster who heads to Hollywood
to collect a debt and finds he
has a knack for the business,
was a fitting addition to the
Berlinale that year, one of the
most Hollywood in some time.
Travolta hit the opening-night
party along with several other
A-list talents like Ang Lee and
Emma Thompson, both in town
for the competition title Sense
and Sensibility (the Jane Austenadapted period drama would win
the Golden Bear).
As partygoers entered the Zoo
Palast cinema, a brass band

performed under a banner that
read Filme Machen Friended
(Films Make Peace), and guests
inside were greeted by a wigged
string quartet playing Mozart.
The festival continued to be a
happy home for Hollywood that
year, with Julia Roberts, Robert
Downey Jr., Sally Field, Jodie
Foster, Danny DeVito, Stephen
Frears and Tim Robbins also
walking the red carpet. Bruce
Willis and his blues band, The
Accelerators, even put on a show
at the Universal Music Hall.
Barry Sonnenfelds Get Shorty
may not have walked away with
the Golden Bear, but the wellreceived film (which had opened
in U.S. theaters the previous
October) did get Travolta a

Golden Globe win.
How cool can a mere movie
be? wrote David Hunter in
THRs review. A perfect cast, a
great script, based on a hilariously witty best-seller [by Elmore
Leonard], are key elements.
When you add a talented director
and let the magic of Hollywood
take over, the result is Get
Shorty. The movie spawned the
2005 sequel Be Cool, which saw
Travolta and DeVito back, but it
didnt have much luck with the
critics or at the box office.
D2_Berlin_endpg_Travolta_F.indd 40
40
Travolta has returned to Berlin

over the years, and in 2011 he
received Germanys prestigious
Golden Camera award. He is
and remains one of the most popular stars here, said Christian
Hellmann, editor-in-chief at
German listings magazine Horzu,
which presented the Golden
Cameras in 2011.
Now 61, Travolta is again in a
Hollywood-adjacent story; hes
playing attorney Robert Shapiro
in the FX miniseries American
Crime Story: The People v. O. J.
Simpson. REBECCA FORD
POP-EYE/ULLSTEIN BILD VIA GETTY IMAGES
Travolta, Hollywood Took

Berlin by Storm in 1996
2/11/16 11:40 AM
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RARA
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C I N E ARGENTINO
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2016
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[EL INICIO DE FABRIZIO]
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Visit Us
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PA NO RA MA SP E CI A L
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EL REY DEL ONCE /

12.02
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