After earlier chapters debuted at Cannes and Venice, Berlin gets the best of the three
Review: 'Paradise: Hope' concludes a provocative trilogy on a humane note
Posted by Guy Lodge · 7:04 pm · February 8th, 2013
Filed in: HitFix · In Contention
Review: Wong Kar-wai's long-awaited 'The Grandmaster' opens Berlin on a conflicted note
Posted by Guy Lodge · 5:20 pm · February 7th, 2013
Typically gorgeous but narratively choppy martial arts epic fails to fly.
Filed in: HitFix · In Contention
Roundup: Tim Robbins and Susanne Bier on Berlinale jury
Posted by Guy Lodge · 7:30 am · January 28th, 2013
Also: Soderbergh talks not-quite-retirement, and Foster champions Wallis
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Roundup: On Leonardo DiCaprio's odd Oscar history
Posted by Guy Lodge · 6:49 am · January 15th, 2013
Also: The genius of Jodie Foster’s speech, and the oldest living Oscar nominees
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'The Croods,' 'Promised Land' among first Berlin competition titles
Posted by Guy Lodge · 8:45 am · December 13th, 2012
Ulrich Seidl will complete his ‘Paradise’ trilogy at the February fest
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68 films submitted for the foreign-language Oscar
Posted by Guy Lodge · 3:45 pm · October 4th, 2012
Meanwhile, Sony Classics picks up Israel’s ‘Fill the Void.’
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Denmark's 'A Royal Affair,' Switzerland's 'Sister,' Israel's 'Fill the Void' among the latest foreign Oscar entries
Posted by Guy Lodge · 8:28 am · September 22nd, 2012
With the deadline looming on October 1, the competition is already tight.
Filed in: HitFix · In Contention
Morocco strikes first in the foreign language Oscar race
Posted by Guy Lodge · 12:09 pm · August 17th, 2012
Morocco is the first country to submit a film in this year’s Oscar race, while Denmark has a tough choice to make.
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First subtitled trailer for Berlinale festival hit 'Tabu'
Posted by Guy Lodge · 9:00 am · April 16th, 2012
We have the first look at a subtitled trailer for Portuguese romance “Tabu,” the critical hit of this year’s Berlin Film Festival.
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No subtitles needed to be seduced by trailer for Berlin sensation 'Tabu'
Posted by Guy Lodge · 10:52 am · March 24th, 2012
An enigmatic trailer has surfaced for my favorite film of the year so far — U.S. viewers, however, will have to wait until the end of the year to see the whole thing.
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Berlinale Diary: 'Tabu,' 'Barbara,' 'Sister'
Posted by Guy Lodge · 8:18 pm · February 19th, 2012
Guy Lodge concludes his coverage of this year’s Berlin Film Festival by reviewing his three favorites of the fest.
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Italy's 'Caesar Must Die' takes top honors at Berlinale
Posted by Guy Lodge · 4:20 pm · February 18th, 2012
The Berlin Film Festival jury, headed by Mike Leigh, surprised critics by handing their top prize to “Caesar Must Die” — a semi-documentary about a prison production of Shakespeare’s “Julius Caesar” — from veteran Italian auteurs Paolo and Vittorio Taviani.
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Round-up: Streep saluted at the Berlinale
Posted by Guy Lodge · 6:30 am · February 17th, 2012
Also: Missing 2D ‘Titanic,’ and why isn’t Williams the Best Actress frontrunner?
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Berlinale Diary: 'Jayne Mansfield's Car,' 'Francine'
Posted by Guy Lodge · 12:15 pm · February 16th, 2012
Guy Lodge’s latest dispatch from the Berlinale festival reviews Billy Bob Thornton’s first directorial effort in 11 years, and a remarkable acting showcase for recent Oscar winner Melissa Leo.
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Round-up: Time to erase the animation Oscar?
Posted by Guy Lodge · 6:25 am · February 16th, 2012
Also: Brett Ratner’s act of apology, and Streep’s 2013 Oscar bid
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Berlinale Diary: 'Shadow Dancer,' 'Captive,' 'I, Anna,' 'Marley'
Posted by Guy Lodge · 11:58 am · February 13th, 2012
After a slow start, the Berlinale unveiled some impressive films over the weekend, with a particularly strong showing for actresses.
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Berlinale Diary: 'Aujourd'hui,' 'Coming Home,' 'The Outraged'
Posted by Guy Lodge · 5:55 pm · February 10th, 2012
The second day of the Berlin Film Festival offered three very different global takes on personal and political identity, but we’re still waiting for a home run.
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Berlinale Diary: ‘Farewell, My Queen,’ ‘The Delay’
Posted by Guy Lodge · 6:58 pm · February 9th, 2012
Just one full day into the 2012 Berlinale, I’m struck by how many faces I recognize as I traipse across the snow-dusted triangle of the festival center at Potsdamer Platz: crimson-blazered festival stewards who all seem to man exactly the same stations they did last year; international critics in the press room whom I identify instantly by their hair, glasses or oddly colored overcoat, but couldn’t possibly name; even the slickly sullen barista at the one decent coffee source over the road.
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