I Just Had To Look

Having read the book…

Movie

Not. If it weren’t for Corona, I’d go watch Corona – The Movie. I mean, if it were a movie that acutally existed and all that.

‘Corona – The Movie’ is our project. First we need the kind of director who nails the son of a bitch, a guy who will not rest until the virus is turned into lasagna, in its own movie. We need a director who rocks big-time, a man whose name is Martin Scorsese.

The Cast?

Mrs. Corona: Balle Herry
The bad virologist, Professor Pandemia C. Galore: Sigourney Beaver
The good virologist, Professor Vacuna Matata: Sandra Bullocks
The protective mask: Jim Carrey
The individual on the respirator: Brad DiCaprio
The narrator: Bernie Sanders
The arrogant ICU doc: Harrison Dodge
The helpful nurse: Angela Merkel
The Sheriff: Clint Westwood

The Plot? Who cares.

Corona Spares Audience Annual Lola Award Ordeal

There are rays of hope out there, if you just look.

Lola

German Film Awards to Go Ahead Without Audience Amid Coronavirus – Instead of canceling the Lolas, the German equivalent of the Oscars, the local film industry has decided to do a live broadcast of the awards on April 24 without the usual gala.

Thanks, German film gala Volk. German audiences have suffered enough.

A Communist Kangaroo?

This can only be a German production. Or a Berlin one, I should say.

Kangaroo

The Kangaroo Chronicles, a quartet of comic novels by slam poet Marc-Uwe Kling that has sold millions of copies in Germany over the last 10 years, is a classic man-meets-beast buddy story in the vein of Seth MacFarlane’s 2012 comedy Ted – only that its animal protagonist is mainly vulgar in the Marxist rather than the foul-mouthed sense…

His only liability, in terms of electoral optics, could be a fatal addiction to booze-filled pralines – and the marsupial pouch in which he keeps his copy of Mao’s red book…

The film, directed by Swiss filmmaker Dani Levy, shows the communist marsupial team up with Berlin locals against Jörg Dwigs, a Trump-style property tycoon and founder of the fictional AzD (“Alternative to democracy”) party: a classic “the people v the elite” narrative, which the German far left has found more difficult to adopt than its counterparts in Britain, America or Southern Europe.

Who Would Have Thought That Possible?

That the film guru in charge of the Berlin Film Festival’s propaganda efforts from 1951 until 1976 was also closely involved with the Nazis’ film propaganda efforts, I mean.

Nazi

Ex-Nazis in Germany? In the 1950s? How could that be possible?

Will the horrors never cease? First all the crappy movies. Now we find out that the whole shebang is Nazi-verseucht (infected). Let’s call the whole thing off.

The Berlin Film Festival turns 70 this year, but plans for the anniversary celebration have been overshadowed by new revelations that Alfred Bauer, Berlin’s first festival director, had deep ties to the Nazis.

33% More Women Directors?

Fine with me. Just as long as they can ensure that 97% of the movies shown at the Berlinale remain as crappy as they’ve always been.

Women

This morning’s Berlinale Competition line-up announcement featured 33% films (six of 18) with women directors, including one project, DAU. Natasha, which is co-directed by a man and a woman (Ilya Khrzhanovskiy and Jekaterina Oertel).

That’s a drop on last year’s percentage of 41%, when seven of 17 pics selected were from female filmmakers (the figure is seven of 16, 44%, if you don’t count Zhang Yimou’s One Second, which was pulled before it screened).

Still, the Berlin fest continues to compare favourably to the other major European festivals. In 2019, Venice featured just two women directors of the 21 films in its Competition (less than 10%), while Cannes selected four of 21 (19%).

Berlin Competition Lineup: Kelly Reichardt, Sally Potter, Abel Ferrara, Christian Petzold; Disney’s ‘Onward’ & Hillary Clinton Also Heading To Fest

58 Percent Female Directors

And 97 percent crappy movies. Which is actually down from past years. So keep up the good work or something.

Crap

The Berlin Film Festival on Wednesday unveiled its Generations sidebar lineup, consisting of 59 children and youth films, with 58 percent of the titles, both feature-length and short films, directed by women.

Berlin organizers recently also said that the festival’s co-production market, where producers look for partners to finance their new projects, will feature more than 50 percent female-directed films for the first time in its 17-year history.

PS: What prevented the token woman from getting her diet coke from the soda machine? She didn’t have enough quotas to pay for it.

How Could It Not?

Not win, I mean. This is the Berlin Film Festival, after all.

Berlinale

Argentine LGBTQ Sci-Fi Film Wins Berlin Festival’s Teddy Award.

That’s the Berlinale for you. If it’s not about LGBTQ Sci-Fi films it’s about politics. Or should I say other forms of politics?

Santiago Loza’s Brief Story From the Green Planet, an odd genre-mixer involving a trio of LGBTQ friends who discover an actual alien sleeping in the house of one of their late grandmother’s, won the Teddy Award for best LGBTQ film screening at the 69th Berlin International Film Festival.

The Berlin International Film Festival has always been a political stage for filmmakers, and the 69th edition is no exception.

How Sexist Or Something

The Berlin International Film Festival will sign the 50/50 by 2020 gender parity pledge,

Gender

So, like, let me get this straight. You are ASSuming that there are only TWO genders or what, Herr Dieter Kosslick with the dopey hat? You’re going to get letters, pal. Some might have explosives in them, too.

At first I thought they meant 50/50 with regard to the quality of the films they show here at the Berlinale. You know, 50 percent crappy and the other 50 percent really crappy? But I was way off, as usual.

The 50/50 by 2020 pledge does not mandate gender quotas, but calls for festivals to strive for gender parity in top management and for them to publish figures on the gender of the directors of films submitted every year.

German Of The Day: Kontinuität

That means continuity. And that is what the Berlinale Film Festival is famous for.

Berlinale

Take this year’s Gold Bear winner, for instance. Please. “Touch Me Not” is a Romanian film about a woman “struggling with intimacy issues and learning to be comfortable with her body.” And it is a work of cineastic Kunst with sex scenes so explicit and images so disgusting that many viewers had to leave the theater during the viewing.

Continuity, like I said. The Berlinale is first and foremost a political event. And, of course, we all know what kind of political event political events in the film industry must be. Radical is good. Ugly is good. Leftist moral revisionism is good. Porno marketed as art to a willing, enabling (see #MeToo) jury of Hollywooedesque film elitists is good.

And this year’s Golden Bear winner, just like the Golden Bear winner every year, has already been long forgotten by THE REST OF US before the Berlinale trappings have been removed and packed away for next year’s show.

Während des Festivals hatte das auch mit deutschem Geld realisierte Werk die Kritiker gespalten. Denn darin sind detailreich alle Spielarten menschlicher Sexualität zu sehen, es gibt den Besuch in einem Sado-Maso-Club, auch behinderte Menschen sind dabei.

More Crappy PC Films But This Time With That Special #MeToo Touch

Which is also a bunch of crap. But maybe that’s just me.

Berlinale

Let the Berlinale begin again or something. That way it will be over quicker. And please note: With special safe space area this year!

The organizers said they had created a special counseling center at the festival where both audience and participants of the festival could go if they experience or witness discrimination, harassment or abuse. 

I’m wacko for Wacko-puffs! Wacko for Wacko-puffs!

Berlinale-Chef Kosslick verspricht “politisch korrektes Entertainment.”