Jonás Trueba’s “The Other Way Around” is a sensitive, cerebral rom-com that balances humor, philosophy, and meta-cinematic elements and uses the latter two elements to distinguish itself from the genre. The film follows Ale (Itsaso Arana) and Alex (Vito Sanz), a couple on the brink of separation after 15 years together. Trueba’s approach to the narrative is unconventional and refreshing, turning the typical breakup story on its head by having Ale and Alex throw a party to celebrate their separation and repeatedly finding themselves in the same situation.
Author Archives: Julian Janssen
Berlin 2024 Review: “Who by Fire”
“Who By Fire,” the third feature film by Canadian director Philippe Lesage, delves into the various dynamics of relationships against the isolated backdrop of a Canadian wilderness lodge, with seventeen-year-old Jeff at the narrative’s core. Invited for a holiday by his friend Max to director and family friend Blake Cadieux’ home, Jeff is introduced to a set of complex relationships, leading to life-altering revelations and events.
Berlinale 2024 Review: “Who Do I Belong To”
Following her 2018 Oscar-nominated short “Brotherhood,” Meryam Joobeur’s debut narrative feature, ‘Who Do I Belong To,’ is a sensitive and emotionally charged examination of a Tunisian family torn apart by radicalization. Through a lens that is both intimate and deeply affecting, Joobeur explores the limits of a mother’s love, faced with the harrowing realities of her son’s actions. Amplified by Joobeur’s strong directorial decisions the film delivers a narrative that’s deeply embedded in the complexities of familial bonds and the pain of disillusionment.
Berlinale 2024 Review: “A Traveler’s Needs”
“A Traveler’s Needs,” directed by celebrated auteur Hong Sangsoo, is a thought-provoking exploration of how engaging with foreign concepts—be it culture, language, or individuals—can profoundly shift our perspectives and challenge deeply held beliefs and culturally ingrained structures. This film navigates the philosophical and existential terrains of identity, expression and interpretation by focussing on language acquisition and reflections on art. Through a series of conversations, it presents a case for the enriching influence of embracing the unfamiliar, suggesting that our encounters with the unknown can lead to profound self-reflection and a broader understanding of life’s possibilities.
Berlinale 2024 Review: “Rising Up at Night”
This work by Nelson Makengo, is an overwhelmingly evocative documentary that delves into the stark realities of life in the Democratic Republic of the Congo, particularly focusing on the struggles faced by residents in Kinshasa amid frequent power outages and devastating floods. Makengo depicts the struggle of his subjects that is as much about the physical darkness brought on by the lack of electricity as it is about the metaphorical darkness of living in a disaster-stricken area.
Berlinale 2024 Review: “Cu Li Never Cries”
After presenting a series of compelling short films at prestigious festivals such as Locarno, Sundance, and Berlinale, Vietnamese filmmaker Phạm Ngọc Lân has finally premiered his eagerly awaited debut feature, Cu Li Never Cries, at the Berlin Film Festival. The film offers a poetic exploration of how the past continues to influence us and the journey of adapting to the inevitable changes of the present and future. It follows an elderly woman, Mrs. Nguyện, as she navigates a world that has dramatically transformed around her.
Berlinale 2024 Review: “Pepe”
¨Pepe¨, the sophomore feature from Dominican director Nelson Carlo de Los Santos Arias is a bold outing that recounts the life and death of real-life hippopotamus Pepe in a wildly imaginative and stylistically exciting manner, covering a wide range of topics and concepts to explore themes surrounding colonialism, racism, exploitation and the feeling of being ¨othered.¨
Berlinale 2024 Review: ¨Memories of a Burning Body¨
“Memories of a Burning Body,” the sophomore feature by director Antonella Sudasassi Furniss where the Costa Rican director once again takes the stage at the Berlinale Film Festival shines with her storytelling prowess. Following the acclaim of her first feature, “The Awakening of the Ants,” for its strong feminist lens, Sudasassi Furniss returns with a narrative that pushes the boundaries of how the internal world of women, particularly those of advanced age, is portrayed in cinema even further.
Berlinale 2024 Review: ¨In the Belly of a Tiger¨
“In the Belly of a Tiger,” the sophomore feature by director Siddharta Jatla, takes audiences into the bleak realities of a Northern Indian village, grappling with poverty and the extreme choices some are forced to make in the name of survival. This Indian film, inspired by true events, unflinchingly portrays the life-and-death struggles of its characters, who are caught in a cycle of exploitative labor and increasing desperation. The narrative’s core, centered around the haunting possibility of self-sacrifice to a tiger for government compensation, introduces a unique blend of class drama and horror elements that sets the stage for an intense exploration of human resilience and familial bonds.
Berlinale 2024 Review: “I Saw Three Black Lights”
Set against the serene backdrop of the Colombian jungle, I Saw Three Black Lights unfolds as an evocative exploration into the realms of heritage, mortality, and the profound connection to ancestral lands and culture. Directed by Santiago Lozano Álvarez, this film transcends the boundaries of conventional storytelling, creating a mesmerizing audiovisual experience that honors Afro-Colombian culture and confronts the ominous threats of external violence.
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