Julia Von-Heinz: Last News

Nick Vivarelli International Correspondent Berlin Film Festival artistic director Carlo Chatrian is in an upbeat mood as he puts the finishing touches on assembling his fourth and final edition. It appears to be shaping up nicely with a rich mix comprising prestige star-driven titles, such as the world premiere of Netflix’s “Spaceman” in which Adam Sandler plays an imperiled astronaut, and films with “political elements” that are intrinsic to the fest’s DNA. The day before revealing his Berlin Special lineup that includes several star-studded galas – the main lineup will be announced on Jan.

Leo Barraclough International Features Editor More than 800 film industry professionals in Germany and Austria have signed an open letter opposing antisemitism, with the number of signatories continuing to grow. The signatories include a wide range of directors, writers, producers and other film industry professionals.

Leo Barraclough International Features Editor Kirsten Niehuus, CEO at Medienboard Berlin-Brandenburg, which funds films and TV series production in the Berlin region, and Simone Baumann, managing director of German Films, which promotes and supports the release of German films abroad, welcomed a wide array of guests to their garden party at the Cannes Film Festival on Saturday. Three Medienboard-funded films are in this year’s Competition: Tunisian director Kaouther Ben Hania’s “Four Daughters,” Austrian filmmaker Jessica Hausner’s “Club Zero,” and U.S. helmer Wes Anderson’s “Asteroid City.” Niehuus told Variety: “Those are three very different productions, but it shows the spectrum [of films] that Medienboard supports.” Tunisian films, like “Four Daughters,” need international co-production funding to get made, she said, and “we believe in world cinema, so were very happy [to back it].” Hausner is “one of the most impressive female filmmakers [in the world], and I think there should be more female filmmakers on the Croisette and every other ‘A’ festival,” she said. “Asteroid City” is “the best of American arthouse filmmaking; very stylish, with a great narrative – so we love it,” she said.