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  • The Ballad of Wallis Island

    The Ballad of Wallis Island


    Music has a way of tying us to a time or place. An unforgettable gig, shared with a friend. A first dance at a wedding. A loved one’s personal favourite. School days, holidays and special occasions all have their own soundtrack; a piece of music that brings a smile to your lips or makes your eyes water in remembrance. It’s a powerful thing to experience. 

    Herb McGwyer (Tom Basden) used to make music that moved people, back when he performed in a duo with Nell Mortimer (Carey Mulligan). Now, his solo career is seriously in need of some funds and Nell has given it all up to make chutney. So, when Charles Heath (Tim Key) offers the pair hundreds of thousands of pounds to perform a gig on Wallis Island, both accept unquestioningly. But the days spent on this remote Welsh island have a transformational effect on all involved. Music really does have a power of its own. 

    The Ballad of Wallis Island

    James Griffiths directs, whilst Basden and Key have written the script, based on their own short film. The writing is so sharp and so funny, you’ll almost struggle to catch your breath. Charles, in particular, is such a hilarious character, purposefully mis-pronouncing his lines or making terribly timed puns. It’s a story that feels universal – as the film deals with nostalgia and loss via music – yet the jokes are uniquely British. (There’s a particular reference to Harold Shipman that had many in the Glasgow Film Festival audience choking on their sauvignon.)

    The performances are all excellent and the chemistry between the cast is palpable. Tim Key somehow manages to make Charles the most infuriating, hilarious and empathetic character all at the same time. Tom Basden gives you every inch the jaded star you’d expect – he’s huffy and demanding; but ultimately bruised by his experiences in the industry. His duets with Carey Mulligan’s Nell are genuinely beautiful to listen to. Nell, in contrast to her brusque former partner, is gentle and nurturing. Sian Clifford also appears in a supporting role as local shop owner, Amanda, a role that gives rise to equal parts comedy and romance. 

    At the heart of it all are themes of grieving and memory. Charles is unable to detatch himself from his notion of who McGwyer and Mortimer once were, because it keeps him in the cosy nostalgic glow of a period of time in his life when he was happy. Herb is mourning is lack of solo success and finds himself battling unexpected jealousies when he realises that Nell no longer misses their former life. It’s the music that links the three leads, but they all have a different connection to it and a different sense of the role it played in their lives. It’s an interesting take on the notion that music is something that binds us together. There’s a scene on the local beach, where Nell encourages them to write their hopes and dreams for the future on some lanterns she’s bought, and you can tell that Herb, in particular, is struggling to see what the future might hold for him, so wrapped up is he in the past. 

    The Ballad of Wallis Island

    The soundtrack, like the film itself, is warm and folksy. For some, it might all feel a bit twee and on the nose but there’s something so heartwarming about it all that you’ll be willing to overlook that. Basden and Mulligan both have excellent singing voices and they blend together beautifully. Their love songs – and the on screen chemistry they share whilst performing them – are genuinely gorgeous. So much so, that some performances may have a few bottom lips trembling. And that’s what is so great about this film – the comedy is razor sharp but the drama that unfolds is genuinely upsetting. Both the writing and the performances know how to maximise both elements for the most amount of impact. 

    If you’re looking for a genuinely entertaining bit of British cinema, showcasing the striking Welsh coastline and phenomenal local talent, The Ballad of Wallis Island is a must see. It’s gentle when it needs to be, utterly hilarious and unapologetically good for the soul.

    The Ballad of Wallis Island was the Surprise Film for the 2025 Glasgow Film Festival. It’s due for release in US cinemas on March 28 and UK cinemas on May 30.

    https://www.youtube.com/watch?v=HTi-e20yVNs

    Mary Munoz
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  • Episode 193 of “The Cinephile Hissy Fit” Podcast — Every Movie Has a Lesson

    Episode 193 of “The Cinephile Hissy Fit” Podcast — Every Movie Has a Lesson



    For their 193rd episode, two suburbanite film critics, two nanny-gawking dads, and two accosted school teachers, Will Johnson and Don Shanahan, circle back to a cinematic cottage industry found in the 1980s and 1990s of so-called domestic terror: stories that preyed on the pearl-clutching fears of the upper middle class. One of the best to get the audience’s blood boiling was 1992’s The Hand That Rocks the Cradle directed by the late Curtis Hanson and starring Rebecca De Mornay. It’s time to steal a baby, but this show won’t steal yours. Come learn more and stay for the mutual love and respect that fun movies encapsulate. Enjoy our podcast!



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  • The Players – Review from Glasgow Film Festival

    The Players – Review from Glasgow Film Festival


    “You can’t just quit a show because a director made you feel weird. You’ll never get hired again,” fifteen year old Emily is warned by a fellow actor. It’s dubious and harmful advice, to say the least. But it’s typical of the kind of nonchalance that all of the adults in Emily’s life display. She is let down all of the adults around her whilst she participates in an emotionally abusive and exploitative avant-garde theatre troupe. 

    Writer / director Sarah Galea-Davis’s film The Players makes its international debut at the Glasgow Film Festival. It’s quiet, intense and brooding; it’s devoid of the histrionics you might expect of a close-knit theatre ensemble. Instead, it’s dripping with sepia toned theatre lights, unsteady close ups and unsettling dynamics. It’s an exploration of power within the theatre scene; how easy it is for “direction” to become an excuse for humiliation and taking advantage. 

    It’s summer 1994. Emily (Stefani Kimber) has found herself plucked from obscurity and cast in a seven hour version of Hamlet, where half the script has been replaced by movement pieces and interpretive dance. She is thrilled to be accepted by her much older colleagues, as life at home has not been smooth of late due to her parents’ separation. But when director Reinhardt Frank (Vikings’ Eric Johnson) starts to pay her more and more attention, Emily struggles to cope with the very adult situation she finds herself in. 

    The Players - Glasgow Film Festival 2025

    What starts off as seemingly innocent fun – a glass of booze to join the adults in a toast or a sneaked cigarette to feel grown up – quickly descends into outright manipulation. Reinhardt declares that Emily would look better with short hair and so his girlfriend, Marley (Jess Salgueiro) gets the scissors out. No one bats an eyelid, either, when he suggests setting Emily’s costume on fire. Excuse and after excuse is doled out for a pattern of predatory behaviour with young ingenues. Galea-Davis is strong in her condemnation of Reinhardt – he is a pretentious, odious man with a fragile ego – but equally of those around him. Why is no one stepping in? Why is no one calling it out? 

    Kimber and Johnson are excellent in their respective roles. Kimber brings youthful enthusiasm in abundance to Emily. Initially, she is full of adolescent awkwardness, repeatedly tucking her hair behind her ears and shy about her performance abilities. In conversation, she is earnest in her attempt to appear interesting and experienced around her grown up colleagues. She, no doubt, sees this theatre family as a replacement for her flight mother and angry father. She is vulnerable; something Reinhardt spots from the offset. 

    Johnson is stroppy and charming; passionate and dangerous. More often than not, his temper (and his ego) get the better of him. His desire to dominate clearly stems from feelings of inadequacy. There’s a particularly glorious scene where a festival director explains that he hasn’t seen his latest work, “… but my assistant said she was riveted.” Johnson’s eyes burn with humiliation and rage. He is the one who does the bruising. His ability to switch between softly spoken compliments and firmly gripped instructions is quite alarming to behold. It’s an intense performance that revels, somewhat, in its loathsomeness. 

    The Players - Glasgow Film Festival 2025

    “All directors are going to want to sleep with you … You gotta play the game,” an actress unhelpfully suggests. The Players raises a lot of questions about the theatre world. Why are all of these adults having such emotionally complex and intimate conversations with a sheltered fifteen year old girl? How can these women victim blame someone so vulnerable? Where is the sense of sisterhood and shared experience? But, of course, these questions have come up time and again since the #MeToo movement really took hold and the answers are rarely simple. Galea-Davis wants us, as viewers, to feel anger and disgust. But would we behave any differently, she seems to ask. The Players is an interesting, complex film that exposes the potential abuses within the theatre industry. It’s quietly dangerous and emotionally charged throughout. Both Stefani Kimber and Eric Johnson are magnetic leads.

    The Players is showing at Glasgow Film Festival 2025. Get your tickets here.

    Mary Munoz
    Latest posts by Mary Munoz (see all)



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  • The Penguin Lessons review – think Dead Penguins Society

    The Penguin Lessons review – think Dead Penguins Society




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  • Inside the academic conference taking Terrifier back to school

    Inside the academic conference taking Terrifier back to school




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  • The Return – Review from Glasgow Film Festival

    The Return – Review from Glasgow Film Festival


    There aren’t any gods or mythical creatures in Uberto Pasolini’s The Return. Perhaps, if there were, the former would be looking down at the island of Ithaca with shame and pity. The Italian director – and the man behind the likes of Still Life and Nowhere Special – gives a decidedly visceral human experience instead. 

    It has been over ten years since the Trojan war. Odysseus (Ralph Fiennes) is missing, presumed dead. The kingdom that was once his now swarms with viperous suitors, all vying for the hand – and the wealth – of its queen, Penelope (Juliette Binoche). Telemachus (Charlie Plummer) is also at risk, too, as being heir to the throne puts a target on his back. When Odysseus washes up on the shore, bloodied and bruised, will he be able to take his place as king or has his time away changed the fate of Ithaca irrevocably? 

    The Return Glasgow Film Festival

    As a film, The Return feels rather subdued. Like a classic BBC Sunday night drama in parts, it’s laden with dialogue that is supposed to feel profound (but often falls short). There’s almost a dreariness about it, as if to emphasise Odysseus’ profound state of despair. If you’re coming to this expecting daring hand-to-hand combat or mythical beings, you are going to be disappointed. Instead, this is a wordy, character driven drama. 

    And, at the heart of it all, is Ralph Fiennes. Having cast off the scarlet robes of Conclave, he’s extremely ripped and sunkissed. And he wants you to know. The camera gazes lovingly over his body, taking in every wound and scar. His eyes appear as luminous as the sea he washes up from. Fiennes takes his time with the character, portraying the mythical hero as traumatised by his experiences. He is disillusioned with the concept of war (but, boy, can he handle himself if pushed). Indeed, the film feels like an exploration of Odysseus PTSD, if such a thing were to be diagnosed in Ancient Greece. 

    He is the character with the most to do, unfortunately. An array of suitors (led by Marwan Kenzari’s Antinous) spend their days lazing around the palace, thinking of new ways to convince Penelope to marry one of their interchangeable persons or dispatch with Telemachus. Charlie Plummer doesn’t get much character development, either, other than refusing to believe that Odysseus is who he says he is before quickly accepting him. And whilst the camera, too, is in love with Juliette Binoche’s kohl–rimmed eyes by the firelight, her talents are woefully underused. We never get a sense of Penelope and Odysseus’ great love story; their chemistry is palpable but they have so little screen time together. There’s a lovely motif of Penelope unpicking her daily work at the loom – as if attempting to unspool her own fate – but that, too, is underdeveloped. In fact, she is only on screen or has dialogue in relation to the chorus of men, which stagnates and flattens any sense of who the character is. 

    The Return Glasgow Film Festival

    However, the film is beautiful to look at. Those crystal clear waters will have you longing to book a holiday. The palace is entirely lit by firelight meaning that, even during the day, it is a shadowy and untrustworthy place. The action is a bit lukewarm but the moment Ralph Fiennes gets to re-string his bow is truly magnificent to behold. His dominant, hyper masculine archer’s stance allows you to take in every sinew of his body; tensing as the fate of his kingdom relies on his prowess. (Seriously, was that body under Cardinal Lawrence’s robes?) 

    The Return has two really big names attached to it, some gorgeous scenery and one really powerful performance. But, unfortunately, that might be all it has going for it. It really does feel like a television drama that doesn’t quite translate to the big screen.

    The Return had its UK premiere at the Glasgow Film Festival and will be in UK cinemas as of April 11.

    https://www.youtube.com/watch?v=aOQQ45ddYdk

    Mary Munoz
    Latest posts by Mary Munoz (see all)



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  • The Arts Industry Landscape — Every Movie Has a Lesson

    The Arts Industry Landscape — Every Movie Has a Lesson



    Article courtesy of the International Drivers Association

    In recent years, the arts industry has faced an array of challenges that have transformed how organizations operate and interact with their audiences. Despite the thriving creativity inherent in the sector, economic realities and market dynamics present significant hurdles for arts organizations, particularly in regions less inclined to support cultural initiatives. This situation has sparked a conversation around the need for strategic innovation and adaptation in the arts, as highlighted in discussions among industry professionals seeking to address these pressing concerns. A notable trend reshaping the arts is the integration of technology as both a medium and a tool for engagement. This was exemplified by the National Endowment for the Arts’ publication of “Tech as Art,” which urges the sector to invest in digital cultures at both administrative and programmatic levels. This push for digital innovation not only helps in maintaining relevance but also in reaching broader audiences.

    Furthermore, the arts industry is increasingly focused on strategic collaboration to mitigate challenges, such as funding shortages and environmental impacts. By understanding the nuances of strategic alliances, arts organizations can leverage collective strengths to enhance their operational resilience. This spirit of collaboration is complemented by insights from ISPA members who emphasize the importance of generational cooperation and innovative approaches to overcome financial and environmental obstacles. In terms of marketing, arts organizations often encounter difficulties in effectively communicating their value propositions, particularly in saturated markets. Audience segmentation has emerged as a crucial strategy for aligning offerings with the specific needs of diverse target groups. By employing best practices in audience development, arts organizations aim to optimize their engagement efforts, though comprehensive guidelines remain sparse. Ultimately, the landscape of the arts industry is characterized by a complex interplay of creativity, innovation, and adaptation. As organizations navigate these challenges, they continue to redefine their roles within the cultural ecosystem, striving to make their value known amidst a sea of competing interests and economic pressures.

    Understanding the Marketing Paradox

    In the realm of arts organizations, a peculiar paradox has emerged: while these entities possess vital survival tools, they often struggle to market them effectively to an industry gasping for air. For many artists and arts organizations, marketing is perceived as a betrayal of their creative ideals. The term “marketing” conjures images of selling out and compromising artistic vision for the sake of audience approval. This resistance to embrace marketing is deeply rooted in a belief that art should exist free from commercial influence, a notion that is increasingly being challenged in today’s economic climate. Nonprofit arts organizations, in particular, face unique marketing challenges. Often, they fail to recognize the critical role marketing plays in their survival and growth. A comprehensive marketing strategy is crucial not only for generating revenue and raising funds but also for cultivating relationships and advancing their mission. Yet, many organizations still view marketing as a cost center rather than a lifeline that can drive strategic goals forward. This mindset can impede their ability to communicate effectively with target audiences and secure necessary funding. Collaboration is touted as a potential solution, but it also comes with its own set of pitfalls. Strategic collaboration requires careful navigation to avoid missteps and maximize opportunities for leverage. Understanding these dynamics is essential for arts organizations seeking to join forces with others in the industry. By sharing resources and knowledge, arts organizations can enhance their marketing efforts and broaden their reach. Moreover, the recent challenges posed by the COVID-19 pandemic have underscored the need for a more dynamic approach to arts marketing. The pandemic’s impact on the cultural sector has been profound, disrupting traditional marketing strategies and necessitating the adoption of new digital tools and platforms. Arts organizations have had to quickly adapt to this new reality, leveraging digital interaction to maintain audience engagement during a time of unprecedented social distancing. Despite the clear need for robust marketing strategies, the arts industry continues to grapple with funding challenges and a hesitance to fully embrace marketing as a tool for survival. This marketing paradox—having essential tools but struggling to utilize them effectively—highlights the tension between maintaining artistic integrity and ensuring organizational viability. As the arts sector navigates this complex landscape, the ability to balance these competing demands will be critical to its long-term success.

    Why Traditional Marketing Fails

    In the realm of the arts, traditional marketing has long faced criticism for compromising creative integrity, with many artists viewing it as a means to pander to the audience rather than staying true to their artistic vision. This reluctance to embrace marketing is rooted in the fear that it dilutes the authenticity of the artistic process, making it difficult for arts organizations to adopt marketing strategies that could be vital for their survival. Moreover, traditional marketing often falls short because it fails to address the unique challenges that arts organizations face, such as the rapid shift to digital platforms and the demand for remote work options, which were accentuated by the pandemic. In 2009, when arts organizations experienced a decline in audiences and funding, many perceived it as a temporary setback caused by the economic downturn, rather than an indication of deeper systemic issues in marketing practices. Furthermore, the lack of a strategic approach to marketing and communications in the nonprofit sector, including arts organizations, leads to missed opportunities for growth and audience engagement. Nonprofits often view marketing as a cost center, rather than as an integral part of their mission and long-term survival strategy. This perspective contributes to the underutilization of adaptive, goal-based budgeting that could align marketing efforts with broader organizational goals and measurable impacts. In addition, traditional marketing methods often do not resonate with the evolving digital landscape. Arts organizations need to leverage digital engagement to foster a more democratic and relational interaction between artists and audiences. Without embracing such innovative approaches, traditional marketing fails to cultivate meaningful connections that could enhance audience development and organizational success. Thus, the arts sector finds itself in a marketing paradox, where the tools necessary for survival are seen as threats to its very identity.

    Alternative Approaches to Marketing in the Arts

    In the constantly evolving landscape of arts marketing, traditional strategies often fall short in reaching audiences effectively. As the industry grapples with financial challenges, innovative approaches become not only desirable but necessary for survival. The fusion of art and marketing is not new, but as the boundaries of both fields expand, so too do the methods of engagement and outreach.

    Immersive Marketing: A New Frontier

    Immersive marketing, also known as engagement marketing, utilizes cutting-edge technologies like augmented reality (AR), virtual reality (VR), and live events to craft experiences that directly involve consumers, thus creating deeper connections with a brand or product. This strategy has found a natural ally in the arts sector, where sensory engagement can transform passive spectators into active participants. By integrating immersive art installations into brand strategies, organizations can create captivating experiences that forge emotional connections with audiences.

    Digital Innovation: Expanding the Digital Canvas

    Digital platforms have dramatically reshaped how arts organizations engage with their audiences. As we approach 2025, trends in digital marketing continue to evolve, with tools like text messaging, analytics, personalization, and hybrid events enhancing engagement and operational efficiency. Digital spaces allow for innovative interaction, but they require strategic implementation to maximize their potential. Platforms like Audience Access, which integrates digital program books with audience engagement features, illustrate how technology can be harnessed to connect with patrons both in-person and virtually.

    Strategic Collaborations: The Power of Partnership

    Collaborations remain a powerful tool in the arts marketing arsenal. Whether through partnerships with other artists, brands, or organizations, these alliances open up new opportunities and enhance visibility. Strategic collaborations empower arts organizations by allowing them to share resources, reduce costs, and amplify their reach. Such partnerships can involve cross-sector stakeholders, including government, nonprofits, and corporations, leveraging their collective strengths to address community needs and broaden audience engagement.

    Audience Segmentation: Precision in Targeting

    The art of audience segmentation allows organizations to tailor their marketing efforts more precisely. By dividing a target audience into smaller, more specific groups, arts organizations can craft messages that resonate more deeply with each segment. This practice not only improves the effectiveness of marketing campaigns but also fosters a more personalized interaction with the audience. Advanced segmentation techniques, like The Audience Agency’s Audience Spectrum, provide insights into audience attitudes and behaviors, enabling more strategic decision-making.

    Case Studies

    In an industry grappling with unprecedented challenges, the arts sector has had to pivot dramatically to ensure survival and relevance. The case studies of various arts organizations reveal both innovative approaches and the stark realities of marketing in a time of crisis.

    Adaptive Strategies in the Face of Adversity

    The pandemic forced many arts organizations to rethink their strategies, focusing on adaptability and resilience. As detailed in the Arts Endowment’s research, arts organizations have embraced diverse reopening practices, offering insights into how to sustain operations during such turbulent times. These organizations showcased an urgent need to reassess their business models, with a focus on identifying strategic target groups and implementing change when necessary.

    Success through Audience Engagement

    Audience engagement has emerged as a critical factor in the survival of arts organizations. The Wallace Excellence Awards shed light on how 10 organizations successfully built their audiences by recognizing when change was essential and implementing audience-centric strategies. This approach highlights the importance of not only retaining existing patrons but also cultivating new ones through targeted initiatives.

    The Ineffectiveness of Traditional Marketing Tactics

    Despite the potential for creative marketing, not all strategies have yielded positive results. Many organizations found that traditional marketing tactics such as paid advertising were not delivering the desired outcomes, prompting a reevaluation of these methods. This has led to a shift towards more community-driven strategies, though challenges remain in finding the right balance and approach.

    Embracing Immersive and Experiential Marketing

    In response to the limitations of conventional methods, some organizations have turned to immersive arts as a way to engage and captivate audiences. The integration of immersive experiences into marketing strategies represents a significant shift towards experiential storytelling, transforming passive consumption into active participation. This strategy has been exemplified by initiatives like The Van Gogh Experience, which turned galleries into interactive, living exhibitions, thereby deepening audience connection through sensory engagement. These case studies illuminate the complex landscape arts organizations navigate in their marketing endeavors. While some strategies have succeeded in engaging audiences and sustaining operations, others have highlighted the paradox of trying to sell survival tools to an industry already in distress. As the arts continue to evolve, these insights will be crucial for organizations seeking to thrive in a post-pandemic world.

    Strategies for Arts Organizations

    As arts organizations struggle to remain buoyant in an industry facing multifaceted challenges, a tapestry of strategic initiatives emerges as crucial for their survival and growth. These strategies aim to navigate the turbulent waters of financial instability, changing audience dynamics, and an increasingly digital world.

    Embracing Strategic Planning

    At the heart of any resilient arts organization is a meticulously crafted strategic plan that is continuously updated to reflect changing circumstances. This involves setting financial goals, planning budgets, and maximizing resources, all while fostering a unified organizational vision that aligns staff and stakeholders around common objectives. Strategic planning not only ensures long-term viability but also helps arts organizations engage with their communities in a meaningful way, thereby strengthening emotional and intellectual connections. With an ever-changing landscape, arts organizations must remain agile, adjusting their plans as necessary to respond to new challenges and opportunities.

    Leveraging Audience Segmentation

    In an era where digital engagement is paramount, audience segmentation has become an invaluable tool. By dividing their target audience into smaller, more defined groups, arts organizations can tailor their offerings to meet the specific needs and preferences of these segments. Audience segmentation best practices allow organizations to enhance marketing strategies and engagement efficiencies, thereby reaching patrons more effectively and expanding their reach. Implementing these practices can help arts organizations maintain relevance and build stronger relationships with their audiences, fostering loyalty and support.

    Exploring Creative Collaborations

    Collaboration is a powerful avenue for arts organizations seeking to expand their influence and resources. By working with other artists, brands, or organizations, they can unlock new opportunities and increase visibility. Collaborations offer a platform for shared creative growth, fostering innovation and allowing organizations to explore new avenues for audience engagement and artistic expression. This strategy not only broadens the organization’s reach but also enhances its ability to deliver exciting and relevant programming.

    Engaging in Experiential Marketing

    Immersive and experiential marketing strategies are transforming how arts organizations connect with their audiences. Through innovative technologies like augmented reality (AR) and virtual reality (VR), organizations can create immersive experiences that captivate audiences and forge deep emotional connections. These experiences are not just about entertainment; they are about engaging spectators in a manner that deepens their connection with the art and, by extension, the organization itself. By integrating immersive arts into their marketing strategies, organizations can enhance their audience’s experience and foster a lasting impact.

    Utilizing Digital Platforms

    The digital revolution has provided arts organizations with new tools to captivate audiences and deepen engagement. Digital spaces allow for enhanced spectator interaction, offering a dynamic and evolving platform for art marketing. By embracing these digital opportunities, arts organizations can reach broader audiences, break geographical barriers, and ensure their art remains accessible to a diverse and global audience. The transition to digital isn’t merely a shift in platform but a strategic move to ensure sustainability in a rapidly changing world.

    Call to Action

    In a world where the arts industry is facing unprecedented challenges, it is imperative for organizations to not only focus on immediate survival but also on thriving in the long term. Arts organizations must harness the power of strategic collaborations to expand their reach and engage with wider audiences. By sharing resources and reducing costs, these collaborations can increase efficiency and enhance visibility, ultimately leading to increased support and funding. Furthermore, strategic planning should serve as the compass that guides these organizations through challenges, enabling them to capitalize on emerging opportunities. Engaging in formal strategic planning and community engagement can result in enhanced clarity regarding their mission and vision, which in turn improves decision-making processes.

    Now is the time for arts organizations to foster a culture of readiness by equipping their staff with the necessary strategies to navigate unforeseen challenges. Through these efforts, the arts can not only survive but thrive, ensuring their vital role in society remains steadfast. We urge arts organizations to embrace these strategies and innovations, tapping into the digital world to better understand and engage their target audience. Whether through digital marketing strategies or online courses that inform marketing initiatives, organizations have the tools at their disposal to adapt and evolve. Let us come together, harness our collective strength, and ensure the arts industry not only survives but flourishes in the face of adversity.



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  • Quinzaine des Cinéastes 2025 – The Disapproving Swede

    Quinzaine des Cinéastes 2025 – The Disapproving Swede


    Today, the selection of Quinzaine des Cinéastes 2025 was presented by artistic director Julien Rejl. The strand has been around since 1969 and was formerly known as Quinzaine des Réalisateurs. The section runs parallel to the main festival and has typically been the place to find the best and most original works by directors who would later become famous. This year, 18 new features were chosen from 1605 submissions, including seven first features. The opening film is Enzo, a collaboration between Robin Campillo and Laurent Cantet. Other films are as follows.

    LA DANSE DES RENARDS (The Foxes Round) – Valéry Carnoy

    LA MORT N’EXISTE PAS (Death Does Not Exist) – Félix Dufour-Laperriè

    L’ENGLOUTIE (The Girl in the Snow) – Louise Hémon – premier long métrage / first feature film

    KOKUHO – Lee Sang-il

    LUCKY LU – Lloyd Lee Choi – premier long métrage / first feature film

    MILITANTROPOS -Yelizaveta Smith, Alina Gorlova & Simon Mozgovyi

    GIRL ON EDGE (Hua yang shao nv sha ren shi jian) – Jinghao Zhou – premier long métrage / first feature film

    CLASSE MOYENNE (Middle Class) – Anthony Cordier

    MIROIRS No. 3 (Mirrors No.3) – Christian Petzold

    LES FILLES DÉSIR (The Girls We Want) – Prïncia Car – premier long métrage / first feature film

    DANGEROUS ANIMALS – Sean Byrne

    AMOUR APOCALYPSE (Peak Everything) – Anne Émond

    THE PRESIDENT’S CAKE (Mamlaket al-Qasab) – Hasan Hadi – premier long métrage / first feature film

    INDOMPTABLES – Thomas Ngijol

    BRAND NEW LANDSCAPE (見はらし世代) – Yuiga Danzuka – premier long métrage / first feature film

    QUE MA VOLONTÉ SOIT FAITE – Julia Kowalski

    SORRY, BABY – Eva Victor – premier long métrage / first feature film – film de clôture / closing film

    Julien Rejl
    Julien Rejl

    Quinzaine des Cinéastes 2025 Comments

    There are some well-known names in the lineup. The opening film was a Laurent Cantet project, which Robin Campillo took over after his death. The most famous, but also the most surprising inclusion, is Christian Petzold. His films are typically screened at the Berlinale. Possibly, the film was not ready in time for that festival, but then, most outsiders would have guessed that it would get a competition or Un Certain Regard slot. Instead, it now found a home in Quinzaine. This is a significant demotion for the director unless the film is overly experimental, which would make it a better fit for this strand.

    Anthony Cordier caused a splash in Quinzaine with Cold Showers in 2005 and now returns with Classe Moyenne. Canadian director Anne Émond, known for Nuit #1 (2011), presents Peak Everything, which is described as a rom-com. Julia Kowalski returns to the Quinzaine two years after her short I Saw the Face of the Devil competed there—both films star Polish actress Maria Wróbel. Militrantopos is a Ukrainian documentary.

    Quinzaine des Cinéastes introduced an audience award last year, the Chantal Akerman prize. The first recipient was Matthew Rankin’s Universal Language. For some reason, Todd Haynes will receive the French Film Directors’ Guild’s lifetime achievement honour, the Carrosse d’Or award, at the section’s opening ceremony on May 14. Since 2013, the strand has housed a mentoring project called Directors’ Factory. This year, it will be devoted to young filmmakers from Ceará, in Northeastern Brazil.

    Quinzaine des Cinéastes introduced an audience award last year, the Chantal Akerman prize. The first recipient was Matthew Rankin’s Universal Language. For some reason, Todd Haynes will receive the French Film Directors’ Guild’s lifetime achievement honour, the Carrosse d’Or award, at the section’s opening ceremony on May 14. Since 2013, the strand has housed a mentoring project called Directors’ Factory. This year, it will be devoted to young filmmakers from

    The 2025 Directors’ Fortnight runs May 14-24. The selection committee is the same as the last two years. One can only hope they managed to select more intriguing films this time. The selection will be screened in numerous French cities after Cannes and in a few international locations as well. This year’s poster is designed by Harmony Korine.



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  • The Top 10 films set in Berlin

    The Top 10 films set in Berlin


    Berlin, a city with a cinematic history as rich and layered as its checkered past, has been a muse for filmmakers since the dawn of cinema. From the silent films of the Weimar Republic, through the city’s division into East and West, to the reunification, Berlin’s narrative has been captured on film in myriad ways. The city’s cinematic landscape has given rise to some of the most iconic films in history, reflecting its political, cultural, and emotional transitions. Some films are more known than others, and this list of the top 10 films in the Grey City doesn’t necessarily include the most famous ones.

    10. Germany Year Zero (1948)

    Germany Year Zero
    Germannia anno Zero by Roberto Rosselini.

    The third film of Roberto Rossellini’s war trilogy following Rome, Open City and Paisan is the bleakest of the trilogy. The depiction of young Edmund trying to navigate war-torn Berlin is hardly a beacon of hope. This was young Edmund Moeschke’s only screen appearance, but it was enough to engrain him in spectators’ minds for years. The film was shot both on location and in the studio, marking it somewhat of a disruption with the neo-realist methods. Reactions to the film were mixed, with some deeming it melodramatic. In any case, it remains a powerful work and spawned a sequel of sorts. More about that later.

    9. Menschen am Sonntag (1930)

    Menschen am Sonntag
    Menschen am Sonntag by Robert Siodmak and Edgar G. Ulmer.

    The amusing Menschen am Sonntag (People on Sunday) was directed by Robert Siodmak and Edgar G. Ulmer with a script by Billy Wilder. Eugen Schüfftan was the cinematographer, and Fred Zinneman was his assistant, so the film was made by several future Hollywood personalities. Since the film is from 1930, it has nothing to do with the contemporary draconian laws of what activities are not allowed on Sundays in Germany. The loose story is about a group of people trying to enjoy their weekend. The film is short and constantly entertaining.

    8. Rabbit à la Berlin (2009)

    Krolik po - The Disapproving Swede
    Rabbit à la Berlin (Królik po berlińsku) by Bartosz Konopka.

    This is the most unusual film on the list. It is a documentary of sorts about the wild rabbits that lived in the no man’s land between the Berlin walls for 28 years. It was a safe home lush with grass, free from predators, and even guarded from human interference. They were trapped but content. As their numbers grew into the thousands, guards tried to remove them, but the rabbits held on. Then, one day, everything changed: the Wall came down. Suddenly, their sheltered world was gone, and they had to leave their comfortable home behind. They migrated to West Berlin, forming small colonies that still exist today.

    This description makes the metaphorical side of the film more than evident. This medium-length film not only shows the rabbits but also contains commentaries from several people, including soldiers, experts, and other witnesses. It manages to paint a portrait of the living situation in East Berlin playfully without shying away from the truth. The rabbits started spreading around when the wall came down, but they were less sheltered than before. Just like with Pepe, people decided to kill off some of them. The film shows how their lives changed and that most moved to the Western side like many people did. Rabbit à la Berlin is available in German on YouTube.

    7. Cabaret (1972)

    Cabaret Liza Minelli
    Cabaret with Liza Minelli.

    It is difficult not to include Cabaret on the list. Bob Fosse captures the city’s energy and tension during the final years of the Weimar Republic. Through the Kit Kat Club, the film contrasts the era’s nightlife with the rise of Nazism. Liza Minnelli’s performance as Sally Bowles and Joel Grey’s Emcee add to its impact. With striking musical numbers composed by John Kander and the sharp social commentary, Cabaret remains an essential Berlin classic. Maybe some people would even be able to spot differences compared to today’s society.

    6. Die dritte Generation (1977)

    Die dritte Generation
    Die Dritte Generation

    Rainer Werner Fassbinder’s Die Dritte Generation (The Third Generation 1979) is one of the director’s boldest films, taking a sharp take on terrorism in West Germany. Set in a chaotic, divided Berlin, it follows radicals driven more by boredom than ideology. Blending satire and thriller, Fassbinder critiques media influence and manipulation. The film’s fragmented storytelling and grainy, disorienting cinematography heighten its sense of paranoia. Die Dritte Generation captures the disillusionment of late-1970s Berlin, making it a thought-provoking portrayal of the city’s political tensions. Who is actually funding the terrorists? The cast includes Eddie Constantine, which also goes for…

    5. Allemagne année 90 neuf zéro (1991)

    Allemagne année 90 neuf zéro.
    Eddie Constantine in Allemagne année 90 neuf zéro.

    The title of Jean-Luc Godard’s Allemagne année 90 neuf zéro obviously refers to the aforementioned Rossellini film. It also harks back to the director’s previous Alphaville: Une étrange aventure de Lemmy Caution, where Eddie Constantine played a variation of his signature role, Lemmy Caution. In 1990, he is just a fish out of water as Philip Marlowe in The Long Goodbye (1973), albeit for different reasons. It is one of the first and best films about the new reality after the Berlin Wall came down. The entire film is available on YouTube with English subtitles.

    4. Flight to Berlin (1984)

    Flight to Berlin
    Tusse Silberg in Flight to Berlin.

    Christopher Petit’s first film, Radio On (1979), became an instant cult classic, while his sophomore effort, An Unsuitable Job for a Woman (1982), was sadly underrated. Flight to Berlin is his third film and also the third on this list that features Eddie Constantine. The storyline about Susannah (Tusse Silberg), who is whisked away from her hotel for interrogation, dives straight into mystery and essentially keeps it that way. The film captures the split city, but as I mentioned before, it’s also full of references to films by Godard and other directors. It is a film worth seeing by a director who seems to be forgotten nowadays.

    3. M – Eine Stadt sucht einen Mörder (1931)

    M Fritz Lang

    Fritz Lang’s M – Eine Stadt sucht einen Mörder (1931) is a seminal German film set in Berlin’s bustling, shadowy underbelly during the Weimar Republic. The story centres on Hans Beckert, a child murderer whose crimes disrupt the city’s fragile order. Berlin’s criminals, facing police pressure, take justice into their own hands, forming a parallel justice system. This portrayal of Berlin is both a character and a backdrop, showcasing the city’s dark, labyrinthine streets where fear and paranoia reign. The criminals’ response to Beckert’s deeds is pragmatic; they organize to capture him, not out of morality but to restore their disrupted business.

    Joseph Losey made an underrated remake in 1951. That was not the only time when that director presented a film that didn’t get the reception that it deserved.

    2. Possession (1981)

    Possession
    Isabelle Adjani and Sam Neill in Possession.

    Possession is the only film in English by Andrzej Żuławski and his most well-known internationally, even if it was distributed in a truncated version in the US. The story of a spy (Sam Neill) and his wife (Isabelle Adjani) is not a film easily forgotten. That goes for the thespians as well. Adjani stated that it took years for her to recover from the shooting, and Sam Neill recently said that he “escaped that film with my sanity barely intact”. The cold war setting of Berlin has rarely felt more distressing. A pivotal scene takes place in the famous Café Einstein, which is, sadly, permanently closed.

    1. Der Himmel über Berlin (1987)

    Der Himmel über Berlin
    Der Himmel über Berlin

    The number 1 was an obvious choice. The title Der Himmel über Berlin has nothing to do with the fact that Uber was the vehicle provider at last year’s Berlinale (now replaced by Cupra) but with two angels that descend on the city and try to grasp what it means to be human. The English title, Wings of Desire, works very well too. This romantic and philosophical film boasts splendid cinematography by veteran Henri Alekan and wonderful performances by Bruno Ganz and Otto Sander, among others. It is Wim Wenders’ most accomplished work.

    The screening in a packed Draken in Gothenburg in 1988 is one of my most treasured cinematic memories. With its giant screen, this beautiful cinema was the perfect venue for the film, and the ambience was phenomenal. It didn’t get worse when Ganz and Sanders took the stage after the screening. The portrait of Berlin is interesting at a time when Potsdamer Platz was basically a hole in the ground.

    This rounds up the list of the best films set in Berlin. It remains to be seen if the future will bring more memorable films from the city.



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  • The empty showboat of cinematic one-shots

    The empty showboat of cinematic one-shots




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