This weekend, the 2016 Berlin Film Festival came to a close with the festival’s international jury awarding eight films that played in the main competition. Berlin, which used to be looked at as a tier below Cannes and Venice, has slowly shed that perception over the years thanks to premiering titles like The Grand Budapest Hotel and 45 Years (the declining stature of Venice might also be a factor too, but that’s a story for another day). Jury president Meryl Streep announced the winners with her fellow jury members, which included Clive Owen, past Berlin winner Małgorzata Szumowska and Italian actress Alba Rohrwacher.

The winners (listed at the bottom of the page) also help tell us a few things about Berlin and the state of world cinema right now. Here are a few things we learned:

Berlin isn’t afraid to take risks

Lav Diaz has been making films for nearly two decades, but his uncompromising approach to filmmaking and duration has acted as a sort of barrier to competing at a major film festival (when he does screen, he’s usually pushed to sidebars or out of competition slots). So it came as a shock when the Berlinale announced his latest film, the 8-hour A Lullaby to the Sorrowful Mystery, would actually premiere in the main competition. Berlin is the first of the three major festivals to give Diaz a spot on the main stage, and that alone helps establish the festival as a sort of risky alternative to Cannes (which caused a minor stir last year when it refused to consider Miguel Gomes’ epic Arabian Nights for the main competition) and Venice. Berlin still has a way to go with establishing an identity for itself—some of their competition selections still seem random—but if it continues to make moves like this one, it might start carving a place out for itself on the festival circuit where even the boldest and most unconventional works can coexist in competition with more friendly and prestigious festival fare.

The Alfred Bauer prize needs to go

First off, I want to be clear: I don’t think the Alfred Bauer prize is a bad idea. The prize, which some might consider third place, is an award “for a feature film that opens new perspectives.” It sounds like a nice way to honour a bold or daring title in competition but, in reality, it’s just a way for the jury to look like they’re not excluding “difficult” cinema. This year, the winner didn’t come as a surprise at all: Lav Diaz’s A Lullaby to the Sorrowful Mystery pretty much had this one locked up from the start. So while having Diaz in competition is great, the presence of the Alfred Bauer prize feels like Diaz’s film never had a fair shot at the Golden Bear to begin with. Unfortunately, even if the prize went away or changed its purpose of avoiding the exclusion of certain types of films, the association will probably still be there (much like how Best Director at Cannes has turned into “let’s give it to the most stylish and/or difficult one”), and until it’s gone the prize is going to look less like an award and more like an excuse.

Are you listening, Cannes?

Cannes shouldn’t have to worry about losing its status as the most prestigious film festival in the world (even if festival head Thierry Fremaux seems hellbent on turning Cannes into a laughing stock), but with every passing year, it looks more like a festival that needs to get with the times. And for a festival that loves to make egregious decisions, perhaps its most egregious one is the continued exclusion of documentaries from its main competition. The last time a documentary competed for the Palme was in 2004 when Michael Moore’s Fahrenheit 9/11 walked away with the main prize, a decision that still irks some to this day. Perhaps that’s why Cannes hasn’t put a documentary in competition since, but Berlin doesn’t seem to have any biases when it comes to format. This year had two nonfiction films in the main competition, with Gianfranco Rosi’s immigration documentary Fire at Sea taking home the Golden Bear. Berlin isn’t the only major festival to show some love for documentaries either; Rosi’s previous film Sacro GRA won the Golden Lion at Venice, yet if either of them tried to compete in Cannes they would probably get denied. Perhaps Rosi’s two wins can be a sign to Fremaux and Cannes that, as documentaries continue to expand and evolve, the borders between fiction and nonfiction will continue looking arbitrary and archaic.

The unstoppable Mia Hansen-Løve

It’s only been less than a decade, but Mia Hansen-Løve has gradually climbed her way into the top tier of European directors working today, and with Things to Come she seems to have finally cemented her place. It wasn’t until 2009, with her second feature Father of my Children, that Hansen-Løve started making a name for herself (partially helped by her film earning a prize at Cannes), and with her next feature Goodbye First Love the fan base grew even more. 2014 turned out to be her biggest year, with her EDM tale Eden earning rave reviews and distribution deals around the world. Things to Come has Hansen-Løve going in an opposite direction from Eden (or, to put it properly, she’s just continuing to go in her own direction), this time crafting a story around a middle-aged philosophy professor (Isabelle Huppert) instead of a young DJ, and from the sounds of it the film is her strongest work to date. It received near-unanimous praise from critics (including high marks from Nik when he saw it), walked away with a Silver Bear for Best Director, and (perhaps most surprising) scored a slew of distribution deals, including a US deal with IFC Films. Not bad for a film with no major appeal beyond the presence of Huppert.

2016 Berlin Film Festival Winners

Golden Bear for Best Film – Fire at Sea, directed by Gianfranco Rosi

Silver Bear Grand Jury Prize – Death in Sarajevo, directed by Danis Tanović

Silver Bear Alfred Bauer Prize (for a feature film that opens new perspectives) – A Lullaby to the Sorrowful Mystery, directed by Lav Diaz

Silver Bear for Best Director – Mia Hansen-Løve for Things to Come

Silver Bear for Best Actress – Trine Dyrholm for The Commune, directed by Thomas Vinterberg

Silver Bear for Best Actor – Majd Mastoura for Hedi, directed by Mohamed Ben Attia

Silver Bear for Best Script – Tomasz Wasilewski for United States of Love, directed by Tomasz Wasilewski

Silver Bear for Outstanding Artistic Contribution (in the categories camera, editing, music score, costume or set design – Mark Lee Ping-Bing for the camera in Crosscurrent, directed by Yang Chao

As I mentioned in our Top 10 Anticipation feature for this year’s Berlinale, the last film Dogme 95 alumnus Thomas Vinterberg directed was the hushed-up epic Far From The Madding Crowd. With his latest, re-teaming with old-school buddy and fellow Dane Tobias Lindholm on the typewriter (err, computer), Vinterberg narrows his focus on a tight-knit self-made commune in 1970s Copenhagen, creating a film that’s all the better for being so intimate in scope. Acting thesps Ulrich Thomsen and Trine Dryholm join Vinterberg and Lindholm for the project, and the fact that all four crossed professional paths at one point or another gives The Commune a sense of instant familiarity; something that keeps the film glued together even when it threatens to fall apart in the third act.

Local news anchor Anna (Dryholm) is happily married to a professor of architecture Erik (Thomsen). Together with their 14-year-old daughter Freja (Martha Sofie Wallstrøm Hansen), they move into Erik’s old childhood home after his father passes away. In order to spice up their lives and fill the house with more excitement, Anna has the idea to create a commune and invite all the fantastic people they know to live with them. It’s the 1970s, and co-op lifestyles are all the rage. A group of colorful characters round up the household, and everything is rosy up until Erik meets and falls hard for 24-year-old mini-Brigitte Bardot Emma (Helene Reingaard Neumann). Instead of pulling a fit, kicking him out, filing for divorce, or anything else we might expect a woman living in the 21^st century to do, Anna suggests something much more radical: invite Emma into the commune and see if they can all make it work.

While Anna’s blasé attitude towards Erik’s infidelity takes a bit of getting used to, Dryholm—with the support of Lindholm’s crackling screenplay—does an outstanding job of making us understand why she wants to give the unusual scenario a go. Besides, the foundation of a commune during the 1970s is built on open-mindedness and acceptance. The realizations that Anna goes through, while predictable, keep The Commune interesting throughout. It’s not long before we realize that the crux of the matter lies in the struggle between personal issues in an open-space environment. The central performances are fantastic, Lindholm packs in enough boisterous humor to keep entertainment levels high throughout, and Vinterberg’s direction is airtight; but there is a disingenuous imbalance in the characterization of all other members beside the original family unit, including much too much focus on an overtly engineered character that transforms from young boy to old ploy at the drop of a hat.

Rating:
7/10

No film released this year has left me more shattered during its end credits than Thomas Vinterberg’s The Hunt. The film has moments of immense power and at times is very hard to watch. The story, co-written by Vinterberg, lives on the heartstrings of its characters, led by a towering performance from Danish leading man Madds Mikkelsen.

Lucas (Mikkelsen) is a divorced man who works at an elementary school. Right away we are shown Lucas loves his job and his fellow teachers as well as the kids at the school love him. At every moment the kids seem to be tackling him, laughing as they do it. He is a modest man who is a little on the quiet side. I remember scenes of him nonchalantly walking to and from school, enjoying his surroundings with every step he takes.

Lucas’ best friend for the past 20 years has been Theo (Thomas Bo Larsen). Theo’s 5 year old daughter, Klara, attends the same school where Lucas teaches at. Klara develops a small innocent crush on Lucas and in one scene approaches him about it. Lucas dismisses her notion, but Klara retaliates by telling the principal that he molested her. The remainder of the film deals with the outcome of the event. Lucas’ life slowly begins to unravel one piece at a time. At first the principal suggests that he should not come to school for a while, but before long he is told he doesn’t have a job anymore. His girlfriend sticks with him until his depression is eventually too much for her to handle.

What impressed me most about Vinterberg’s scintillating film is how real all the events felt, especially the characters and their motivations and reactions to everything that happens. In one scene, Theo, who, remember, has been best friends with Lucas for 20+ years, threatens to kill him if everything his daughter has said turns out to be true. In another scene close friends and family of Lucas rally around him to support him; I feel like in lesser movie he would’ve been alone to drive the isolation theme home.

As mentioned before, The Hunt is a very hard film to watch at times. Much of it is Lucas suffering as people around him ex-communicate him as he tries to prove his innocence. Some of these scenes, however, I felt were taken in the wrong direction by Vinterberg. One scene involving Lucas’ teenage son going to Theo’s home (during a gathering with their friends and family nonetheless) seems completely unnecessary. I understand what the point Vinterberg was trying to make, but I feel like the scene just didn’t need to belong in this film.

Another scene has Lucas being assaulted at a grocery store by the staff who tells him he isn’t welcome. After refusing to leave they beat him up and end up throwing canned goods at him as he lies defenseless on the ground. The result of this scene is Theo watching from his car in the parking lot as Lucas walks away morally deflated at how the community is treating him. In my opinion, this scene was little over the top.

While a couple of scenes felt out of place, there is no denying how great this film is. Vinterberg handles The Hunt with elegance and Mikkelsen is hypnotic in the lead performance (he would get an Oscar nomination if I were voting). The closing scenes of the film suggest that while you may be proven innocent, you will have to look over your shoulder for the rest of your life because not everyone will be convinced of your innocence. Vinterberg’s film is not only scary in how proficient it is, but also in how close to reality it is. The Hunt is a mesmerizing film that will haunt you long after it’s over.

The Hunt trailer:

It turned out that the day I was most cautious about was the best experience I had at the festival so far. Thomas Vinterberg’s The Hunt has been one of the hotter titles here, with praise thrown at it left and right from people who got the chance to see it. I didn’t know much about The Hunt going in, and despite my little knowledge beforehand it didn’t buck the current trend of ‘good not great’ that I’ve been experiencing. Kindergarten teacher Lucas (Mads Mikkelsen) has his life turned upside down when a student at his school falsely accuses him of molesting her. The girl has a crush on Lucas, but when he rejects a gift she made for him (which she snuck in his coat shortly before trying to kiss him on the mouth) the girl angrily tells another teacher that he exposed himself to her. What makes this situation even more complicated is that the girl’s father is Lucas’ best friend Theo (Thomas Bo Larsen). The Hunt is a crackling drama that benefits greatly from taking what would be a morally black and white situation and forcing it into a grey area. Every character behaves justifiably (I can’t say the same for their actions), and Vinterberg milks out the intensity of the situation as much as possible. The first hour of the film, with Lucas slowly being ostracized by the town, is mostly predictable until Vinterberg brings in Lucas’ son. The movie shifts its POV to the son, and when we see how the townspeople deem him guilty by association things take an interesting turn. Mads Mikkelsen is terrific as Lucas, but some praise should also go to Bo Larsen who easily sells how conflicted his character is over whether to condemn or stand by his best friend. The Hunt may have been too see-through for me to truly enjoy it, but Vinterberg has crafted a very good movie here.

RATING: 7.5/10

The Hunt

And just as I was lamenting the lack of truly great films at TIFF this year, along comes Leviathan to save the day. As we’ve already mentioned in our trailer post, Leviathan is an abstract documentary that was filmed on a fishing boat working around the eastern seaboard. The opening sequence starts out from the point of view of a fisherman hauling in a catch, but suddenly the camera is thrown into the ocean. As the camera bobs up and down in the ocean we get brief glimpses of seagulls flying in the sky. Describing these kinds of scenes don’t do justice to how visceral watching Leviathan is. The use of small GoPro cameras not only gets some amazing footage, it lends an otherworldly quality to what’s on screen. The constant movement makes it impossible to orient oneself, so when the camera catches a net being pulled in during the night it can easily look like some sort of monstrous creature coming out of the water. I don’t see how anyone could watch Leviathan outside of a theatre and get the same impact as watching it on a giant screen. After being assaulted for nearly 90 minutes, the lights came on in the theatre and I suddenly realized that I seemed to have lost my place. Everything around me looked foreign, like I was suddenly dropped into the theatre and trying to figure out where I was. It’s the kind of reaction I’ve never had after watching a film, and it left me feeling euphoric afterwards. Leviathan is the best film of the year for me right now, the kind of movie that makes me realize why I love going to TIFF in the first place.

RATING: 9/10

Leviathan

NEXT UP: Post Tenebras Lux which gained Carlos Reygadas a Best Director prize at Cannes this year. It’ll be followed by When Night Falls, which annoyed the Chinese government so much that they offered to buy the film just so they could bury it. Plus, a review of Motorway.

Recap of some of my Tweets from today:

Follow @WayTooIndie for full coverage of the 2012 Toronto International Film Festival!

In line for THE HUNT right now after arriving early at #TIFF12 today. Don’t know much about this film other than it pisses some people off.

— Way Too Indie (@WayTooIndie) September 12, 2012

Thomas Vinterberg at a Q&A for THE HUNT which got a standing ovation twitter.com/WayTooIndie/st…

— Way Too Indie (@WayTooIndie) September 12, 2012

Now in line for the premiere of LEVIATHAN which @cinemaguild has picked up for distribution! That already tells me it must be good #TIFF12

— Way Too Indie (@WayTooIndie) September 12, 2012

Someone just asked Vinterberg if he could explain dogme 95. KILL ME.

— Way Too Indie (@WayTooIndie) September 12, 2012

Overheard someone say they thought Morgan Freeman died a week ago, so anyone who thinks that #TIFF12 is for intellectuals can rest easy

— Way Too Indie (@WayTooIndie) September 12, 2012

Audience sat in stunned silence throughout credits of LEVIATHAN. Here’s a pic of the very shy directors #TIFF12 twitter.com/WayTooIndie/st…

— Way Too Indie (@WayTooIndie) September 13, 2012