Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them. Combining cutting-edge design, illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. We believe in Truth & Movies.
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?
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.
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
Editor at Moviescramble. European cinema, grisly thrillers and show stopping musicals are my bag. Classic Hollywood Cinema is comfort food. Spare time is heavily dependent on a lot of pizza and power ballads.
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.
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.
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.
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, 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 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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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
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.
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.
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.
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.
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.
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.
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…
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.
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.
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.
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.
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.
Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them. Combining cutting-edge design, illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. We believe in Truth & Movies.
Today, the Berlinale Independent Juries prizes were awarded. There are several sections under this umbrella, and the awards were given out as follows:
These awards were handed out in three sections. The Competition prize went to O último azul (The Blue Trail). The Panorama Award went to The Heart Is a Muscle, while the Forum prize was given to Holding Liat.
The FIPRESCI awards were given to four sections. The Competition prize went to Drømmer (Dreams). The Panorama prize was given to Bajo las banderas, el sol (Under the Flags, the Sun). The Forum award went to La memoria de las mariposas (The Memory of Butterflies). The last prize for the new section, Perspectives, was given to Kaj ti je deklica (Little Trouble Girls).
The prize for Best feature film went to Lesbian Space Princess. Best Documentary/Essay Film was awarded to Satanische Sau (Satanic Sow) by veteran Rosa von Praunheim. Best Short Film was given to Lloyd Wong, Unfinished. The Jury Award was given to Wenn du Angst hast nimmst du dein Herz in den Mund und lächelst
(If You Are Afraid You Put Your Heart into Your Mouth and Smile). That film also took the prize for the Title that roll of Your Tongue. Finally, a Special Teddy Award was handed out to Todd Hayes, the jury president of the main competition this year.
Dag Johan Haugerud won his second award for Drømmer (Dreams (Sex Love)) when he was given the Guild Film Prize. I’m slightly puzzled by these awards, but it might be seen as a soothing film in troubled times.
The Forum prize was yet another win for Wenn du Angst hast nimmst du dein Herz in den Mund und lächelst
(If You Are Afraid You Put Your Heart into Your Mouth and Smile). The Panorama Award went to Sorda (Deaf). The latter won the PANORAMA AUDIENCE AWARD for feature film as well. The Audience prize for best documentary was given to Die Möllner Briefe (The Moelln Letters).
Regarding other awards, Hysteria by Mehmet Akif Büyükatalay was given the LABEL EUROPA CINEMAS. Die Möllner Briefe (The Moelln Letters) scored another win with the AMNESTY INTERNATIONAL FILM AWARD. The HEINER CAROW PRIZE was given to Palliativstation (Palliative Care Unit) by Philipp Döring.
Two German newspapers have their own READERS‘ JURY AWARD. The one from Berliner Morgenpost meant a third win for O último azul (The Blue Trail), while the prize from TAGESSPIEGEL went to The Swan Song of Fedor Ozerov.
All of the awards from the independent juries and further information can be found here.
The 2025 Berlinale Awards were presented on February 22. It was the 75th edition of the festival and the first under the reign of Tricia Tuttle. The jury president, Todd Haynes and his jury members had a thankless task since the competition selection was particularly uninspired this year.
The Golden Bear went to Drømmer (Dreams (Sex Love)), directed by Norwegian filmmaker Dag Johan Haugerud. The inclusion of the film in the competition was surprising since it had already opened in Norwegian cinemas in October. It is also the second film in the trilogy rather than the third. Sex was screened in the Panorama section of last year’s Berlinale, while Love (reviewed here) was presented on the last day of the Venice Film Festival. The probable cause of the shuffle is that the initial plan was to present Drømmer at some festival between the Berlinale and Venice.
The Silver Bear Grand Jury Prize went to O último azul (The Blue Trail) by Brazilian director Gabriel Mascaro. I was a fan of his 2019 Panorama entry, Divino amor, but found this work disappointing after a highly promising start.
Argentinian filmmaker Iván Fund won the Silver Bear Jury Prize for El mensaje (The Message). There are things to admire in this film, but it is still a bit too insignificant and ruined by the usage of one particular piece of music. Fund’s work will not always be on my mind.
For Best Director, the Silver Bear was awarded to Huo Meng for his sophomore film, Sheng xi zhi di (Living the Land). It’s a film I have yet to watch.
Acting accolades lit up the ceremony, with Rose Byrne earning the Silver Bear for Best Leading Performance in If I Had Legs I’d Kick You, directed by Mary Bronstein. This was the other of the two films in the competition that was not a world premiere. Bronstein’s film premiered at Sundance shortly before the Berlinale. Andrew Scott took the Silver Bear for Best Supporting Performance in Richard Linklater’s Blue Moon.
The Silver Bear for Best Screenplay went to Radu Jude for Kontinental ’25. The Romanian auteur is no stranger to the Berlinale and inexplicably won the Golden Bear in 2021 for Bad Luck Banging or Loony Porn. His new film will not surprise anyone who knows the director’s work but boasts a strong performance by Eszter Tompa.
Finally, the Silver Bear for Outstanding Artistic Contribution honoured the creative ensemble behind La Tour de glace (The Ice Tower), directed by Lucile Hadžihalilović. This is the most inexplicable of the awards. Like the director’s previous films, it relies on mood rather than a cohesive style and moves at a glacial pace (no pun intended).
The Berlinale 2025 winners were not exciting and, in some ways, predictable. That Todd Haynes would appreciate the queer-themed Drømmer is hardly a shock, but the awards for Jude’s and, above all, Hadžihalilović’s film are not easy to comprehend. As I wrote before, Haugerud’s film won two prizes at the Independent Awards earlier in the day. Personally, I find Haugerud’s trio superficial beyond belief. I’ve been wondering what makes his films so attractive in some quarters and have reached the disheartening conclusion that the films are the cinematic equivalent of a comfort blanket. Cinematic might not be the apt choice of words for these films devoid of cinematic qualities.
Regarding films that should have won awards or snubs to descend to Oscar lingo, the most glaring omission is Reflet dans un diamant mort (Reflection in a Dead Diamond) by Bruno Forzani and Hélène Cattet. Reflections is the operative word in this masterful amalgamation of styles, taking its starting point in Italian sixties films. There will be a review and an interview with the directors with no hint of disapproval published soon on these pages. Yunan is another film that could have won an award. Even though it was hampered by Tarrismes with a tad too obvious references, it was indisputably one of the better films in the competition.
Tricia Tuttle’s first edition may have worked well regarding the market side, but when it comes to the film selections, there remains plenty of work that needs to be done.
Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them. Combining cutting-edge design, illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. We believe in Truth & Movies.
The United States takes the lead as the biggest gaming nation of 2025 with a score of 98.24, leading the global gaming rankings with over 28K prize-winning esports players and nearly $290 million in esports earnings. The country combines a high gaming population (83% of residents play video games) with major competitive success, creating the largest gaming market globally.
Denmark comes in 2nd with a score of 84.46, achieving exceptional per capita competitive gaming results with 35.6 prize-winning esports players per 100K residents—over four times higher than the United States. Denmark has the highest percentage of Steam users (10.56%) among all ranked nations and total esports earnings of $61.9 million, which is substantial compared to its population size.
Sweden ranks 3rd with a score of 80.88, with a strong gaming culture where 77% of the population plays video games and 8.88% are active on Steam. Similar to Denmark, Swedish gamers excel in per capita competition with 31.05 prize-winning players and total earnings reaching $56.8 million. Though slightly behind Denmark in Steam usage and per capita winners, Sweden has produced more total prize-winning players (3,309 vs. 2,137).
China ranks 4th with a score of 78.50, generating the world’s highest total esports earnings at $321.9 million (10% more than the United States) and having the second-highest percentage of gamers (86%). Unlike the Nordic countries, China has very low Steam usage (0.80%) and per capita competitive participation (only 0.64 winners), but its massive population results in 9,100 prize-winning players.
Finland takes 5th place with a score of 78.39, having the highest concentration of prize-winning esports players globally at 38.3, surpassing even Denmark. With 71% of Finns playing video games and 8.23% using Steam (slightly lower than Sweden), Finland has accumulated $33.5 million in esports earnings.
South Korea ranks 6th with a score of 65.09, known as the early pioneer of esports with $153.3 million in tournament earnings (the third highest after China and the US) and 5,941 prize-winning players. With 80% of the population playing video games but only 2.90% using Steam (much lower than in Nordic countries), Korea’s gaming market relies on local platforms.
Singapore ranks 7th with a score of 62.22, having the highest percentage of video gamers (87%) among all top nations, even higher than China. The city-state has good per capita competitive participation with 20.52 prize-winning players despite modest total earnings of $7.6 million. Unlike South Korea, Singapore lacks signature game titles where its players consistently excel.
Canada takes 8th place with a score of 61.96, with balanced performance across metrics including 84% of the population playing video games (matching Australia and slightly higher than the US) and 7.50% using Steam.
Australia ranks 9th with a score of 61.33, with a strong gaming community where 84% of residents play video games (identical to Canada). Despite geographical isolation, Australian esports has grown with 4,307 prize-winning players, accumulating $32.8 million in earnings. Australia’s performance is quite good given its distance from major gaming regions and tournaments.
Norway rounds out the top ten with a score of 60.89, with high Steam adoption (9.59%, second only to Denmark) despite having the lowest percentage of video gamers (69%) among top nations. Norwegian competitive gaming has produced 24.19 prize-winning players.
A spokesperson from an online gaming company commented on the study: “There are two distinct paths to success: mass participation versus targeted competitive excellence. Population size proves less important than digital infrastructure and cultural investment in gaming ecosystems. Most significant is how smaller tech-forward regions consistently outperform in per capita metrics while larger markets capitalize on scale advantages in total earnings. Beyond the visible metrics lies a complex interplay between public investment, private sponsorship, and cultural attitudes toward gaming as a legitimate career. Regions that approach gaming through coordinated policy rather than viewing it merely as entertainment are reaping disproportionate economic returns.”
