Ruth Beckermann: Last News

Jessica Kiang The kids in Ilkay Idiskut’s third grade class are, as they let you know within about five minutes of Ruth Beckermann‘s delightful Berlin Encounters documentary “Favoriten,” very much their own people. These 25 boisterous, funny, clattering seven-year-olds attend the largest elementary school in Vienna and for the most part hail from migrant family backgrounds from Turkey or Syria or Serbia. Diminutive in form but outsized in personality, they are also, however, eminently recognisable and relatable, and you can find all the various versions of your own grade-school self in one or other of them at some point.

Patrick Frater Asia Bureau Chief “Snow in Midsummer,” which quietly probes the 1969 massacre of Malaysian Chinese during post-election turmoil, was named the winner of the best film for young cinema competition (Chinese-language) at the Hong Kong International Film Festival. Liang Ming was named best director for “Carefree Days,” while the film’s female lead Lyu Xingchen collected the best actress award.

Malaysia-Singapore-Taiwan co-production Snow in Midsummer and Swedish title Sons took top prizes in the Young Cinema Competition at the 48th Hong Kong International Film Festival (HKIFF).

Leo Barraclough International Features Editor Documentary festival IDFA will host the international premieres of Martin Scorsese and David Tedeschi’s music film “Personality Crisis: One Night Only” and Barbara Kopple’s “Gumbo Coalition” as part of its Masters program, as well as the world premiere of Coco Schrijber’s “Look What You Made Me Do.” The selection includes the work of several renowned directors who have reinvented their cinematic language. Patricio Guzmán breaks from his poetic approach to adopt a more direct, political form of filmmaking with “My Imaginary Country,” centering on the October 2019 protests in Santiago. Gianfranco Rosi directs his first archive-based film “In viaggio,” which sees Pope Francis’ journeys as a map of the human condition. Jørgen Leth and Andreas Koefoed co-direct a film together for the first time with “Music for Black Pigeons,” a reflection on aging through jazz music, and Ruth Beckermann’s “Mutzenbacher” takes a look at a controversial erotic novel through an elaborate casting call.

The real star of Mutzenbacher, an austere Austrian documentary screening in the Encounters strand at the Berlin Film Festival, is a gaudy but once elegant settee that has seen better days, and likely even service in a 1970s pornographic movie (it is described early on as looking like “a former erotic sofa”). Fittingly, it is literally a casting couch for director Ruth Beckermann, who entertains a parade of men aged between 16 and 99 — her specific criteria — as she holds an open audition for a role in her latest film.