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LA MENAGERIE Re-belle

by Sandro Marques

Re-Belle, taken to stage by Compagnie Qui Vive directed by Aline Steiner and performed on stage by Patricia Bakalack, was the first of two guest companies to perform on this year’s edition of the “Festival des arts de la scène francophone” produced by La Ménagerie.

The effort to invite companies from outside of Berlin’s scene was another step forward in this year’s edition. Qui Vive comes from Paris and Mobile Homme Théâtre which performed Saturday, 28 comes from Nîmes, in southern France. Taken to stage at ACUD, the theater house was once more full. The subtitles may have helped the German speaking audience. It was a diverse audience, both in origin and age, just as Berlin is.

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Re-Belle tells the story of a child soldier, which became part of an army at the age of 12, as far as the child can remember. Starting with a soft song, the kind of music that children listen to, Vipèr plays on the ground and slowly, from different stripes of clothes makes her own wrap doll. This in itself is a symbol for what the play is all about.

In its current form, Re-Belle was premiered during this year’s Festival. In this monologue Patricia Bakalack superbly went through as many transformations as a child that becomes a soldier, a soldier that becomes a woman, a woman that becomes a refuge, and as one can only try to imagine. The ranges of psychological beings that such a person has to live with are amazingly performed on stage by the actress.

If we think that such diverse characters are all embodied in one child’s memories we can probably grasp a bit of the trauma this reality constitutes. The silence and immobility from the spectator’s part may be a sign that this time the reality was stronger than theater. At a point, there is a reference to the metamorphosis that a butterfly goes through, from caterpillars into marvelous winged beauties. Vipèr’s metamorphosis is at the reverse pace: From child into a soldier. Vipèr c’est pas Belle elle est Re-Belle.

Photo: Cristina Aibéo

LA MENAGERIE Voix de Femmes

by Sandro Marques

Based on texts by Helen von Druskowitz and Virginie Despentes, Cléo Mieulet read, in French and German, texts by two authors which address the topic of Femininity (die Weiblichkeit) and Gender Studies. With almost one hundred years separating both writers, the importance of these two women for this discussion is of great relevance.

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Virgine Despentes, winner of the Prix Renaudot in 2010 for Apocalypse Bébé, normally writes about the forgotten women that don´t fit in the cage of the feminine: bad girls with violent attitudes, “ugly” women not mirrored by the everyday images of beauty. Helene von Druskowitz, born in 1856, the second women to obtain a Doctorate in philosophy, the first Austrian woman, criticized religion, sexism, the gender inequality and is a reference for Gay and Lesbian History.

The reading switched from one language to the other with such great fluidity that it made the change almost undetectable. Of course, this true Babelian experience is always possible when there is one common language and that was, the portrait of a woman as written by a woman. The bet maide by La Ménagerie, of connecting people despite their natural language, through theatre, but also bringing other kinds of performances to the second edition of this scenic arts festival is a winning bet.

The confrontation between different roles attributed to man and women, based on expected levels of sensitivity, strength or emotional behavior are as valid in Druskowitz as they are today. That is what makes a classic, isn’t it?

Photo: Cristina Aibéo

Gentrificate me!

Goodbye Tacheles, Liebig 14 and Scharni 29! The lists of the squats and alternative cultural places in Berlin which are closing is getting longer every day. Economical pressure is changing the face of the city. New trendy caffees and shops open, old and decayed appartments are done up, a new select population is moving in. The previous inhabitants get slowly pushed to the outskirts of the city due to the rising of prices: the so intensively discussed process of gentrification. Is Berlin's alternative life dying and the city turning into a place for the rich? Our team members reported on their own experience and observations to put together a multilingual snapshot of the matter.

Clemens Franke was on the ground to witness the atmosphere just before the eviction of the squat Liebig 14 (DE), as the supporters were getting ready to resist against the police, “a mix of strong organisation and demonstration folklore”. Christiane Lötsch took a look around her neighbourhood, Neukölln, where groups organise themselves to protest against the rise of rents (DE). On a flyer : “We don't want that our neighbourhood gets unaffordable!”. Months before she had left Kreuzberg (EN), where prises rose and are still rising: Escape!

And it's no new evolution. One year ago, Sébastien Vannier already expressed the hypothesis (FR) of a Berlin intramuros, inside of the ring road, which would be the expensive part of the city, far from distant banlieues. Something which still doesn't exist in Berlin, where some of the poorest parts of the city are in the city center. Stefano Lippiello captured in a photo reportage (DE) the already visible esthetical aspects of the change. Bye bye graffiti, hello clean and tidy owner-occupied flat ! His judgment is clear, Berlin is a victim of its own appeal.

It's a complex relationship between the city and the expectations of its inhabitants which leads to the emerging conflict, analyses Sandro Cândido Marques (PT). Different points of view and projections on the development of a neighbourhood appear between different population groups with diverging wealth. A complex phenomenom implying dynamics of community, identity and memory of inhabitants of a certain territory.


Maybe Sandra Wickerts prosaic description helps at best to grasp the change, with its positive and negative sides: ”When I moved to Berlin-Friedrichshain 12 years ago, I was woken in the morning by my alcoholic-neighbours, shouting at each other swearwords. Nowadays, I still live in Friedrichshain, but I am woken up in the morning by the children's playground which is now opposite my house. Gentrification for me? Higher rents (I pay nearly twice as much as in 1999), less creative and low-budget nightlife (I miss the tiny, temporary bars from and for locals and hate the touristy moneymaking bars), but also less (visible) decay and dirt.”

Berlin is the actual artistically booming city. And even if alternative culture seems very present on the first sight, it is fragile and is slowly disappearing due to economical pressure, which also harms the less wealthy. The end of an era? Some are already looking for the new Eldorado, further east.

Pictures : April 2011, Renovating Ostkreuz, Sergio Marx

Testimony from a Frenchwoman in Dresden: Neo-Nazis parading in my city - what do I do?

by Elise Haddad

I wrote this text ten days ago - it is a unique testimony and an analysis of the situation in Dresden, Germany, concerning the yearly event of February, 13th: anniversary of Dresden's bombing and destruction by the allies, and how it is distorted by Neonazis. In the light of how it turned out, in the context of different types of demonstrations for democracy in the diverse world, in the disturbing comparison of how States and polices deal with them... though at very different scales... it suddenly becomes urgent to share that example at large. Come and observe how misunderstanding and fear spoil even the most consensual motto. A story overlooked by the press, who did not take the time to be there, amongst Dresdner, and listen to them not only on the day, but on the days before.

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Fascism: never again! War: never again! (Image: (cc) dielinke_sachsen/ Flickr)

Die Zeit, public discussion forum, in Dresden's City Theatre on Wednesday, Feb. 9th 2011

For more than a decade now, Dresden, East Germany, has been home to a yearly demonstration of neo-Nazis from the whole Europe. They take advantage of a very sad anniversary: the destruction of Dresden on February 13th, 1945, under Allies' bombs. They use this fact, a war crime, to celebrate the German People and the Nazi State of the time as a victim of cruel enemies - "not one camp more inhuman than the other", they try to signify. Each year, they parade in the city on February 13th, whatever day of the week it is, and then in greater proportions on the following Saturday. Then, buses of European neo-Nazis spill on the city, as well as those of protesters who refuse to let neo-Nazis use the commemoration to their own advantage. And it wreaks havoc. In the city, nearly anybody would rejoice at not having the Nazis there - they did rejoice, in 2010, when Right-wings extremists got blocked at their departure point, and were prevented to parade by a massive mobilization of contra-demonstrators. Opinions diverge, though, as of the path of action that should be taken for this purpose. And as a young European living in Dresden, you can't help wondering: "Resistance against neo-Nazis: what is legitimate?"; the question was voiced by a nationwide German newspaper (Die Zeit), in its "public discussion forum" in Dresden's City Theatre on Wednesday, Feb. 9th 2011.

Dresden's sad anniversary - where things got out of hand...

I live in Dresden. I have been there for a year, only just a year: it is my first Feb. 13th here. Which is more, I may not be in-town for the Saturday following the commemoration, when the huge demonstrations, the huge symbolic battle takes place. Still, I hear house-mates, I hear colleagues wondering: the whole youth of Dresden is buzzing with questions. Difficult to say how many of them will be in the streets when time comes, and, which is more, where they will be and to which purpose - but half of them have made it a central discussion topic. Should we be part of the "human chain", supported by nearly all parties and groups? Should we sit and block the street on the way of the foreseen Nazi demonstration, in the hope of forcing the police to cancel the demonstration? This is what happened in 2010. But it is forbidden, and the police later got blamed from Dresden's Administrative Court for not managing to ensure Nazi's constitutional right to demonstrate that day.

As a matter of fact, neo-Nazis are allowed to demonstrate in the city; there is no way around that, as it belongs to Germany's constitutive demonstration freedom. As much as one loathes an ideology, there is no forbidding its expression. And, I must say, I hardly heard anything against this as a principle, from any of my German friends, whatever their position on the matter. Still, other German cities, respecting the same rules and constitution, had to face the same kind of problems and managed to discourage neo-Nazis from demonstrating: Leipzig did it, Iena also, whose Mayor nowadays takes a day of vacation each year to come as a private citizen to Dresden, accompanied by two buses of prominent people, and to take part in the blockade. Of course, if a country chooses to allow manifestations regardless of the ideology behind it, one has to ask why the actual realization of this march should be impeded, be it by a massive amount of citizens? I have no answer. I am not sure anyone does. And still, everywhere else, neo-Nazis demonstrations receded. And in Dresden, they got bigger, until they became the most important in Europe, attracting participants from the whole continent.

Still, this year, February 13th falls on a Sunday, and on this day, neo-Nazis will parade at daydusk, at the very symbolical and emotional hour where churches' bells ring in commemoration of the beginning of the bombing that thoroughly destroyed the city, they will bear torches and signs calling Dresden a "bombing holocaust", through the very central area of the "old town". And it will be only a rehearsal of the huge europeanwide demonstration of the following Saturday. Furthermore, about a week before the event, nothing yet is organized and allowed on that day for anti-Nazis demonstrators. People in Dresden are outraged. What is so complicated?

On this February 9th, I sit amongst about 500 persons, in Dresden's theatre. Tonight, the newspaper Die Zeit organizes a debate on the topic: resistance to neo-Nazism what is legitimate? Gerhart Baum, NPD politician (right-wing), Ingo Schultze, writer, Christian Demuth, representant of a civil association who organizes resistance in Dresden that day, and Detlef Sittel, representing the municipality of Dresden, will debate, and answer questions from the theatre full of very attentive citizens. I am here because friends of mine wonder, too, and wanted to come. I am here, over all, to understand what is so complicated. As a naïve foreigner, I would think everything is straightforward: if the German People want to ensure the right to demonstrate for all, which is a tough but sensible measure, then they have to live with it. And if Dresdners want to make sure that everyone knows they are massively opposed to neo-Nazi ideology, then a massive human-chain and gigantic assembly during the whole day in the rest of the city should do the trick - it does for foreign media. Never, in France, have I heard any polemic about the "hows and whos" of the protest.

I am to learn that evening why it is not possible. As a friend of mine will tell me later: "If we could just massively stand around the Nazi demonstration and hold signs stating our protest and refusal, I would do it. That would be even better. But as it is, the city administration will not allow it." He has been preparing to non-violent blockade for a few weeks already. Here is the central problem: on the narrow latitude between what is prescribed and what would be dangerous, the City administration does have to position its own decisions. And let me tell you, on February 9th, in the theatre, they were contested: what can be organized, and what gets forbidden, for security reasons?... Or frowned upon - "criminalized", as the writer Ingo Schultze accused that evening. The very bourgeois assembly of old ladies in neat suits, high brow men in their forties, booed the municipality representative - a poor guy without charisma, who did not, indeed, appear to have much to say - and contested it just as much as the lively student youth of the city. It was exhilarating and puzzling at the same time.

"Here, in Dresden", some say, "things happen that would be unthinkable in the rest of the country" - and I am barely beginning to understand why. Political sensibility is high. Maybe political interest is never too far away, either.

- FDP politicians (right), favour an official ceremony on the graves. Of course, they do not oppose a general movement of protest against the Nazi demonstration, but it has to be thoroughly legal - civil resistance is not favoured; and one can sense how loath they would be to stand side by side with Left Extremists, who they deem just as dangerous as neo-Nazis.

- CDU (center-right) politicians, amongst whom City Mayor Frau Orosz, encourage the "human chain" on February 13th, through which Dresdners are to show their refusal of Nazi ideology, in a symbol of enclosing and protecting part of their city from neo-Nazis. Being in charge of the organization, and following their ideas, they also make security an utmost priority on that day - even deciding that the human chain should not take place at the same time than the Nazi Demonstration. Of course, it robs the human chain from a large part of its symbolism - and it raised a scandal, when a right-extremists youth organization took advantage of that to call its member to participate in the human chain, too, before their own parade... transforming it in a mere remembrance ceremony of the destruction of the city, and cancelling the "anti-Nazi" protest meaning it should have had.

- SPD politicians (left-wing) still call inhabitants to participate in the human chain and blissfully rejoice at the unity of action on that front - or do they wish for it? Unofficially, I have heard many left-minded friends talking and wondering about the blockade, even deciding to go. So would kind looking and round-faced established writer Ingo Schultze, and he encourages people of Dresden to pacifically block the Nazis' way. People from outside Dresden, like the Iena mayor, come to the rescue and support the blockers. But they are accused of being "demonstration tourists" by the CDU city council of Dresden. Furthermore, a lot of people are afraid of being associated with the wrong party, if they go, because...

- "Antifas"- far-link organizations who historically combat fascism - criticize all this as hypocrisy, want "the brown pest out of their city" and will block them at any cost... even violence, some fear. To be totally fair, some civil organizations, like "Bürger Courage" on that one evening, do critic a form of hypocrisy too, and the difficulty of the common discussions that took place all year to prepare a united reaction, the petty difficulties, the last-minute changes to what had been agreed upon... Lots of organization saw their proposals rejected, too: the municipality is for example so afraid of security and legal difficulties that it forbade a historical tour of "Nazi places in Dresden" on Sat 13th in the morning, some 6 hours before the beginning of the demonstration. A lot of people - who, agreeably, are not in charge of maintaining order in the city that day - can simply not understand that kind of unmotivated decisions.

Politics, indeed. Not to their best.

- Why, one might ask, in 2010, when everybody rejoiced at the neo-Nazi demonstration not taking place, why was only the human chain credited for it in the press and official statements, falsely, and some blockers treated as troublemakers - their homes and computers investigated by the police, etc? One always come back to that point: do we want the demonstration blocked, or not? Rather not. But it feels so good when it happens. I don't think the city is at all clear with itself about that point.

Finally, I sit there and feel like this is all the story of an unnecessary failure. Most anti-Nazis projected demonstrations or events are forbidden. The police has and will again on that day prevent anti-Nazi protesters from getting to the human chain and other legal manifestation - probably for fear that they are rather heading for the illegal blockade. In the end, it very nearly feels like the municipality favours Nazis over anti-Nazis protesters. Although deeply, we all know it is in no way the case. But Nazis will hold the symbolical advantage on that day in a way that made FDP politician Gerhart Baum incredulous: "This is not possible.", he uttered. But we have to report, as the public answered in one voice, "yes, it is, and it will happen". And that is exactly what angers and pushes many pacific protesters to civil disobedience, to try and block the Nazi demonstration - while they could have been content, under another general climate, to manifest efficiently but legally their disagreement and sufferance. And all the time, neo-Nazis take advantage of it.

So, what should I do? What would you do?

Berlin Film Festival 2011: Liam Neeson and Diane Krueger blow up Berlin in US chart-topper Unknown

Elizabeth (January Jones) doesn't recognise Martin (Liam Neeson), who has just got out of a four-day coma in a Berlin hospital after a freak crash in a taxi driven by Bosnian illegal immigrant Gina (Diane Krueger). That's strange, seeing as the beginning of the film sees them flying into the city together to attend a biotechnology conference, sponsored by a Saudi prince, she the doting wife to his professor authority. The characters have all been seen before, the moments they share and the formula of the film has just been shaken up of a mosaic of every identity thriller there is. But in any case, Dr. Martin Harris, we believe who you say you are!

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Things go on to not be what they seem in this forty million US dollar production. The tension tightens like a rope throughout as the list gets longer and Neeson's character's identity is rejected by everyone, everywhere - he can't even rent a room in strict Berlin because he has no passport. 'I am inspired by Hitchcock,' explains young Spanish director Jaume Collet-Serra (House of Wax, 2005, Orphan, 2009). 'It's a film about an ordinary man in extraordinary circumstances. This is a man who wakes up one day and the world has forgotten who he is.'

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Unknown took over $20m (£13m) at the US box office over the Berlin film festival closing weekend, where it premiered out of competition on 18 February. It was also a huge success with German audiences, who enjoyed imagining Berlin as the setting of an action movie thriller; the Hotel Adlon (where Collet-Sera stayed during the festival), sees an impressive explosion by the Brandenburg Gate, whilst the main central street of Friedrichstrasse saw some risqué driving stunts and street tram collisions thanks to a French team of stuntmen. 'The director of photography was so annoyed by the low streetlights in Berlin,' laughs the jovial director from Barcelona. 'I guess it's great because it's very ecological, but that's how we ended up in Friedrichstrasse'.

German actors Bruno Ganz and Sebastian Koch also draw in good performances; the former as a one-time east German Stasi agent Ernst Jürgen, who brought the laughs in for his earnest spy role, and the latter as Nobel prize-winning botanist Professor Bressler. Ganz is famous for his role as Hitler in Downfall (2004), whilst Koch, a resident of the German capital for the last two decades, is famous internationally for his role in Oscar-winner The Lives of Others (2007). The spotlight however was on Krueger, who has just shot her third film back-to-back in Berlin, but was taken up for her performance as a 'tough Balkan chick. The Yugoslav war is still on our minds,' she explains. 'It brought an interesting social background to the film, creating a complex character. It was a whole different layer of acting for me as an action film. I applaud the studio (Warner Bros. and Dark Castle) for the character not having a romantic relationship with the male lead too.'

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The all-European directed and cast movie is fun for the ride, underpinned by Liam Neeson's grave performance as a man, lost and lost. Krueger, who is playing Marie Antoinette next, did well in action scenes, but playing a Balkan straight-talking heroine doesn't mark her best performance yet. At least, watching a film set in Germany in Germany with a German actress in the leading female role but not starring as a German (you get my point) was a bit jarring to understand in the moment. Ultimately, enjoy watching Berlin as the setting of a Die Hard-Bourne Identity-Taken action film. One Romanian journalist went as far as suggesting a sequel with Bucharest's Palace of Parliament as the bomb setting. In any case, it seems a sequel is in the pipeline. Nor would it be painstakingly amiss if Liam Neeson, this last decade's new action hero, was back on board. Why not.

Watch the trailer for Unknown

Perspectives: Interview with Sleeping Sickness co-writer, German director Maren Ade

At the 61st Berlin film festival Sleeping Sickness ('Schlafkrankheit'), set in Cameroon, picked up a Silver Bear award.

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This year's best director, according to Berlin, is Ulrich Köhler.

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We met Maren Ade, who co-wrote the screenplay and is married to the director, in Paris back in November. Read the interview on cafebabel.com

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''Sleeping Sickness'' was reviewed in German on the cafebabel.com Berlin blog

Images courtesy of the 61st Berlin International Film Festival

Berlin film festival 2011 winner goes to Iran: Asghar Farhadi's Nader and Simin: a Separation

by Sandra Wickert

In 2009 the Iranian director scooped a Silver Bear for best director for About Elly. This year's competition entry Nader and Simin, a Separation ('Jodaeiye Nader az Simin') was a clear frontrunner for the 2011 Golden Bear award, beating twenty-one other films in competition.

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Simin (Leila Hatami) is on the verge of a nervous breakdown. After an eternity her family has managed to secure her a travel visa to find a better life abroad, but her husband Nader (Peyman Mooadi) wants to stay in Iran because of his father (Ali-Asghar Shahbazi) who needs care for his Alzheimer's condition. He threatens Simin's departure with divorce and custody of their eleven-year-old daughter. Nader is a good husband, his daughter loves him, he is quite liberal and is active in the household – no reasons to justify a divorce for the eternal civil servant. As Simin moves to her parents house for two weeks to show that she means it, fate takes its own course.

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Nader and Simin is a complex film: it's about taking care of your elders, the excessive demands of relatives, feelings of responsibility versus personal freedom, lies and ensnarement. The current political and religious situation in Iran is almost additionally but always present. Whilst Nader and Simin stand for the progressives who want a new Iran, the impending carer of the demented father Razieh (Sareh Bayat) embodies the incredibly religious part of the population. On the one hand you have Nader, who is trying to raise his young daughter to develop her own way of thinking and sense of responsibility, as well as Simin, who is completely emancipated from her husband and who doesn't let anyone or anything rule her. On the other hand you have the pious Razieh (Sareh Bayat) who has to check in with a religious authority by telephone for permission before she can changer Nader's father's soiled paints.

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Through his writing and direction Asghar Farhadi deftly mires these opposite ends of a story which suddenly is more than just black or white, where it's not completely clear what is going on, where we don't know who is lying and who is telling the truth – and whether it's all about the truth in any case. What Nader's family consider to be correct can symbolise a catastrophe for Razieh and her husband. Despite the social differences it's the three women, including daughter Termeh (Sarina Farhadi), who save their families in various ways. Meanwhile the men think more of their pride than in the general good.

Nader and Simin: a Separation is laborious because everything happens at once, because the characters are always talking over and across each other, because you can't always follow the behaviour of some of the parties involved, because you want to shake them to bring them to their senses, because you've already guessed that in the end it unfortunately won't end up well.

The 2011 Berlinale film of the year is realistic, absorbing and important: it deserves its Bear, which the director correctly devoted to jailed fellow countryman, filmmaker and honoured jury member, Jafar Panahi, who has been imprisoned for six years for 'propaganda against the regime' and banned from filmmaking for twenty years in Iran.

Film stills @Internationale Festspiele Berlin

Berlin film festival 2011: sequel to British-Pakistani East is East, West is West

Sajid (Aqib Khan) is fifteen and he's no 'Paki'. Cue racism at school and shoplifting and off he is packed to the Punjab with his father George Khan (Om Puri), the 60-year-old owner of the local chippy, who is determined to straighten him out.

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Except for all the trials and tribulations this young family of eight went through in the first film East is East, as English Pakistanis growing up in sixties Salford, it's nothing compared to what's awaiting George. In rural Pakistan, where we go with the film within the first half an hour to stay for a pleasant 102 minute ride, George is Jahangir. George is Jahangir who married his first wife when she was fifteen, had two daughters with her and subsequently never came back from his next life in England.

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West is West is probably not the sequel expected after the phenomenal success of East is East in 1999. The sixties for this family seem to have treated them better, in a more raw mode, than the seventies. Maybe it's that the soundtrack was better in the first film. But it really shows that writer Ayub Khan Din and new director Andy De Emmony were right to wait the best part of a decade before cooking up this follow-up coming-of-age delight. The Pakistani scenes are not heavily stylised but true to life there, and seeing Brits in Pakistan as opposed to Pakistanis in Britain really is a suitable turn of the tables. It's comfortable watching Sajid learning to be half of what he didn't know how to be.

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The film deals with some tricky themes for a generation fourteen audience - which is the section that it was shown in at the 61st Berlin film festival - but polygamy, domestic violence, hyprocrisy and foul mouths are well handled in the movie. Om Puri can seem like a parrot with the same lines he uses as in the first film, but it's mostly true to form, and Linda Bassett opposite him as second wife Ella is just a delight to watch. Four stars.

Catch West is West in UK cinemas in February 2011

Read cafebabel.com Berlin's analysis of the identity crises present in this years Berlinale films (in German)

Watch the trailer here

Berlin film festival 2011: cafebabel picks for the Golden Bear

So that's it, another Berlin film festival over. No more of that Ukranian journalist always asking the 'Is Moscow behind it' question or the Canadian journalist asking the politically incorrect question ('why is Germany so guilty?!') at the daily press conferences. Stalwarts as they are.

No more Berlin FLUfestival.

No more Berlin red carpet gossip, or film-opinion sharing with random strangers around you.

But wait, every film seems to have won an award already...?

In any case, tonight at 7pm the awards are presented, and by taste, cafebabel.com Berlin thinks the gongs should go in this order:

1. - Nader and Simin by Asghar Farhadi. 'He won a silver bear in 2009 and cafebabel.com's German reviews suggest he is in with a chance again. Britain's The Guardian thinks so too, alongside Bela Tarr's The Turin Horse' (Sandra Wickert)

2. The Future by US director Miranda July, 'who swooped in on Berlin amidst a load of Sundance hype. Talking cats, advice-giving moons and crawling t-shirts are good elements to ask the really important questions of life: 'What are we doing and where does this all go?'' (Christiane Loetsch)

3. Coriolanus by Ralph Fiennes. 'Look I'm British and biased but the Fiennes-Redgrave performance has been ringing in my head ever since I watched the film, and it's so relevant with all the mass protests and anarchy raging amidst the world's citizens.' Read the review on cafebabel Berlin here (Nabeelah Shabbir)

4. Pina by Wim Wenders. 'I managed this year to see all films out of competition: Almanya, Pina, Mein Bester Feind, Les femmes du 6e étage, True Grit and Unknown. So I can say, that none of these films will win the golden bear. It's a pity, Pina should win something! I hope that the It's-so-boring-in-California-that-I'm-making-a-film-about-it The Future won't win anything. The film debut from Ralph Fiennes Coriolanus has a chance. And a price for the Iranian film Nader and Simin would be a strong political signal' (Sebastien Vannier)

5. 'The Gael Garcia Bernal vehicle Even The Rain (Tambien La Lluvia), by Iciar Bollain won this year's panorama award; that's the section where the more arty, independent films show. I loved Pina by Wim Wenders, because it gives you a really new perspective on ballet filmed in the woods and urban industrial places in 3D - you can almost smell the sweat of the stars. Otherwise, from the competition 2011 didn't have so much to offer. I'd vote for Coriolanus, it was heavy stuff. It could be Egypt or Libya: Ralph Fiennes and Vanessa Redgrave are very convincing, and a good compensation would be best actor if this doesn't win the Golden Bear' (Ole Skambraks)

6. 'If Not Us, Who ('Wer Wenn Nicht Wir') brilliantly shows the burden of one whole generation being the offspring of the Nazis. Self-hate and catharsis in a film constantly filled with narrative tension. Very good actors in August Diehl (as Bernward Vesper) and Lena Lauzemis (as Gudrun Ensslin). Better than the Baader Meinhof Complex! Debut feature on sixties terrorism in Germany from Andres Veiel.' Read the review in German on cafebabel Berlin here (Sergio Marx)

Some of the other films competing for the Golden Bear award in Berlin on 19 February, in the main 'corners'

IN THE HOLLYWOOD STARS CORNER

- Margin Call, JC Chandor. Think bankers Kevin Spacey, Jeremy Irons, Demi Moore and Paul Bettany equally climbing walls on the night of the 2008 wall street economic crisis. Fun and depressing for the real life element but certainly no cigar

- Yelling To The Sky, Victoria Mahoney. Two words: Zoe Kravitz (three more: daughter of Lenny)

IN THE LATIN CORNER

- A Mysterious World by Argentinian director Rodrigo Moreno. Read the review in German

IN THE GERMAN CONSCIOUSNESS CORNER

- Sleeping Sickness by Ulrich Koehler. Read the review in German here


Berlin film festival 2011: Rundskop ('Bullhead'), hormonal bestial Flemish crime drama

Jacky Vanmarsenille (Matthias Schoenarts) didn't really get a chance in life. As he tells us at the beginning of the film, over some beautiful Flemish landscape, life is fucked. The man works in meat: beef farming is in the family. His livelihood is fed with hormones to make faster business, and his body and soul are nourished by them too. We learn to love this ghastly character as the director takes us back into a tragic incident in his childhood on the Flemish-French border and to the present, where he is caught up in unscrupulous meat business and a local murder.

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No, this is no In Bruges (2008), the last black crime film to be set in Flanders. Yet what a debut feature from Belgian director Michael R Roskam. We're not quite sure what to tell you. Dodgy farmers in Belgium might not be the sexiest setting to sell a film to an audience yet. The larger context of the story which Jacky gets caught up in is a little sketchy to grasp onto, unlike a Tarantino or Guy Ritchie cheeky movie where the various villains are easy to recognise. But the cameras hold their own in moving the story along, the light is beautiful in Limburg and we're exposed to the heart of a man whose heart was stamped on long ago. Throw in that little French-Flemish thread, and there's a light tension in the movie throughout as the Belgians meet each other across the different languages of their regions, which is worth the entertainment. Heck, it's even funny to see how the Belgian characters resort to English exclamations and words to express themselves to each other.

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Not an uplifting story, nor for bleeding Belgium as a country (it just hit the world records for time out of government), but what feels an authentic look from lowlands Belgium; Roskam, who also wrote the script, grew up in Sint-Truiden himself, so we imagine he schooled certain of his characters well from his memories. Forgettable they aren't.

Watch the trailer for Rundskop with English subtitles

The official website for Rundskop

Berlin film festival 2011: French drama with Spanish spice, Les femmes du 6e étage ('Service Entrance'). Olé

The story: M.Joubert lives peacefully on the first gloor with Mme Joubert. Mme Triboulet, the ground-floor concierge isn't the easiest woman to get along with. Neither is Germaine, the maid who lives on the sixth floor. Nor is Mme Joubert, who also lives on the first floor. That's because she is married to M.Joubert. One day sixth-floor resident Germaine decides to move out. There's only the Jouberts left on the first floor, and in comes Maria as the new maid alongside other Spaniards. Maria's a real homemaker. So much so, that those on the first floor start to be interested in what's happening on the sixth floor.

Immediate reaction: I'm checking for flights to Spain and I'll be aiming for a paella on the way.

Laboured reaction: It's not easy to improvise a paella here in Berlin. Otherwise, maybe I should say that I love Fabrice Luchini ? Sandrine Kiberlin is also great in her role as a young super annoying old person. As for the sixth-floor Spaniards, sometimes it feels a bit forced, but the group's vibe is pleasant. This is a comedy which surprises even though we're expecting some cliches.

Will it win in Berlin? No. It's out of competition!

Official information: Don't forget to mention the director Philippe Le Guay. Don't forget that the film is out in France today! 16 February 2011.

Watch the trailer (with English subtitles)

Review by Sebastien Vannier. Images: Katarzyna Swierc

Berlin film festival 2011: Spanish documentary 'Listening to Judge Garzon'

It's one for the Catalans in this 87-minute documentary, shot as a single interview with the high-profile Spanish judge in Madrid on 18 December 2010. 13 February 2011 marks thirty years of a distinguished career for the failed socialist politician from Jaen in southern Spain. But for each of those decades there's a lawsuit up against one-time human rights hero Baltasar Garzon, who in the spring of 2010 was accused of 'prevarication' and overreaching his powers as a judge.

Agarzon

Prepare yourself for a ninety minute quasi-monologue, cut from a six-hour conversation with the writer Manuel Rivas and Garzon, about how a judge should think and what he should do at a crime scene. In Escuchando al Juez Garzón we hear his general beliefs in fighting terrorism globally and the funny anecdote of how it actually was when he issued a 1998 international arrest warrant in London for Chile's former president Augusto Pinochet, for the unaccounted murders of Spanish citizens. The documentary is an opportunity to see a human being talking about the 'painful' legal attack he is under for his investigation into former Spanish dictator Franco's regime under the topic of historical memory in 2008. This is a man who even tried to go after Silvio Berlusconi via the European courts, though we don't talk about it in the film, which would have been good considering the Italian premier's own upcoming April trial for extremely bad behaviour.

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The film is great for a pan-European audience - Garzon pays tribute to the murdered Italian judges of time past and highlights how he has worked with the UK. It's also an insight into Spanish society and culture through a legal system which can promote a discipline of 'you can put your hand in the till, but don't get caught', and the extreme right wing influence of the country's politicians.

Cinematically speaking there's nothing to expect, as the Barcelona-born director and 2009 Berlin film festival jury member keeps her distance and hovers mainly around a naturally lit table where Garzon speaks. Some say it's wise to do so, as depicting a reviled figure such as Garzon right now could make or break a career. Isabel Coixet probably knows that, and the questions put to Garzon are quite consensual and emotive, such as where his family is mentioned. A film to be enjoyed for its human depiction of an institutional person, one of Europe's most famous of latter decades.

Garzon's trial is expected for summer 2011.

Agarzmix

More abut Baltasar Garzon on cafebabel.com

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