‘Touch Me Not’ Review: Adina Pintilie’s Berlinale Winner Is a Sexual Odyssey Stuck Between Purity and Prurience
For all of its nudity and kink — its unashamed erections and BDSM — this unclassifiable film is defined by an almost childlike innocence.
Berlin International Film Festival
Memo to Distributors: Buy These 9 Movies from the 2018 Berlin International Film Festival
The Berlinale is the biggest film festival in the world, but these nine films are true diamonds in the rough.
‘Grass’ Review: Hong Sang-soo’s First Movie of 2018 Is a Beguiling 66-Minute Charmer for Hardcore Fans Only
Hong’s latest collaboration with Kim Min-hee is a beguiling 66-minute charmer about a woman eavesdropping on strangers in a coffee shop.
‘7 Days in Entebbe’ Review: Rosamund Pike Stars in a Hijacking Docudrama that Never Takes Off — Berlinale 2018
José Padilha delivers a competent dramatization of the 1976 hijacking of Air France Flight 139, but it’s hard to understand why he bothered.
‘U-July 22’ Review: An Almost Unbearably Horrifying One-Take Recreation of Norway’s Deadliest Mass Shooting — Berlinale 2018
A movie with the power to re-sensitize us to violence, restoring a terrible shape to the mass horrors we’ve allowed to become abstractions.
‘Daughter of Mine’ Review: Alba Rohrwacher Shines in Laura Bispuri’s Riveting Maternity Drama — Berlinale 2018
Alba Rohrwacher is a force of nature in this ruggedly elemental Sardinian drama from the director of “Sworn Virgin.”
‘Eva’ Review: Not Even Isabelle Huppert Playing an Irritated Prostitute Can Save this Limp Melodrama — Berlinale 2018
Stuck between a high-class thriller and a trashy Cinemax wank, Benoît Jacquot’s latest feature ultimately offers the pleasures of neither.
‘Profile’ Review: Timur Bekmambetov’s Immersive Thriller About a Journalist Catfishing ISIS — Berlinale 2018
The best and most harrowing addition to the emerging sub-genre of movies that take place entirely within the space of a computer screen.
‘Transit’ Review: Christian Petzold’s Beguiling Refugee Romance Is Like a Kafkaesque ‘Casablanca’
The director of “Phoenix” rises from the ashes with another beguiling drama about the specter of fascism.
‘Black 47’ Review: Hugo Weaving Is a Fierce Killer in this Violent Western About the Irish Potato Famine — Berlinale 2018
Lance Daly’s violent revenge saga is an unlikely genre mash that almost works.
‘Isle of Dogs’ Review: Wes Anderson Delivers a Stop-Motion Stunner About the Garbage World We Live In — Berlinale 2018
It’s no “Fantastic Mr. Fox,” but Anderson’s ode to Japanese cinema and canines is plenty of fun.
As Sundance, Berlin, and Other Major Film Festivals Hire Top Positions, Women Are Ideal Candidates
Four top festivals are all searching for new leadership roles — and many in the industry would like to see women take charge.
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![No surprise here: You say ‘Hallelujah’ was Maelyn Jarmon’s best performance in ‘The Voice’ 16 finale [POLL RESULTS]](https://i2.wp.com/www.goldderby.com/wp-content/uploads/2019/04/The-Voice-Season-16-Top-13-Maelyn-Jarmon.jpg?resize=230%2C135&ssl=1&w=300)
No surprise here: You say ‘Hallelujah’ was Maelyn Jarmon’s best performance in ‘The Voice’ 16 finale [POLL RESULTS]
