Berlinale correspondent Elena Lazic examines how Mia Hansen-Løve’s last two films, Eden and L’Avenir (Things to Come), reverse-engineer seemingly cliched stories in order to find the emotional truth and realism buried within them.
Film Festivals
Berlinale 2016 preview: a strong year for women on both sides of the camera
Elena Lazic, our Berlinale correspondent, takes a look at the most exciting films in the festival, including films directed by and about women, and films from Canada, France, and ex-Yugoslavia countries.
Gerard Barrett on addiction and loneliness in Glassland
Irish writer-director Gerard Barrett’s second film, the sensitive and heartbreaking “Glassland” — about an almost grown boy, John (Jack Reynor) and the stress he faces when he’s forced to become his parent’s (Toni Collette) parent — premiered at Sundance last year. Barrett discusses how he got interested in the film, how he works with actors, and how he designed the aesthetic for the film.
Rams: Sheep farming is deadly serious business
Grimur Hakonarson’s Rams is part dark comedy, part family drama about two elderly brothers who haven’t spoken in years. The gorgeous Icelandic landscape provides the backdrop to this story about sheep farming and family reconciliation.
Why you’ve never heard of the Sloan Prize
I’d like to think of the Sundance Film Festival’s Alfred P. Sloan Prize as a beacon of hope for science in film. But it’s an award that no one is promoting, bestowed for reasons no one can divine, based on a process that no one will talk about
Anna Rose Holmer on her Sundance hit The Fits
Holmer discusses how working with the New York City ballet influenced her film, how she used sound and editing to tell the story, and the shooting rules she set for herself.