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BERLIN 2018 Marché / Allemagne

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The Match Factory représente 5 films au programme officiel de la Berlinale


- En anglais : Parmi les titres à son line-up figurent les petits derniers de l’Allemand Christian Petzold et de l’Italienne Laura Bispuri, tous deux en compétition

The Match Factory représente 5 films au programme officiel de la Berlinale
Transit de Christian Petzold

Cet article est disponible uniquement en anglais.

With four Berlinale titles in competition and a fifth film in Panorama, German world sales agent The Match Factory looks set to present a strong line-up at Berlin. In two stories, the question of identity becomes a big issue, but in very different ways. After telling a post-war story in Phoenix, German writer-director Christian Petzold is back with Transit, which follows a German refugee who escapes to Marseille while German troops are fast approaching Paris. In his luggage, he is carrying the manuscript, letters and visa documents of an author who has taken his own life in fear of his persecutors. The man assumes his identity, but everything changes when he falls in love.

(L'article continue plus bas - Inf. publicitaire)IDW Supsi Internal

In the Italian Golden Bear contender Daughter of Mine by Laura Bispuri, a ten-year-old girl lives with her loving mother in Sardinia. Her life is turned upside down when she finds out that the local party girl is actually her birth mother. After her award-winning first feature, Sworn Virgin, which also premiered in the Berlinale Competition in 2015, the director has teamed up once again with Alba Rohrwacher. Also hailing from Italy is the debut feature Boys Cry by Damiano and Fabio D'Innocenzo, which will premiere in the Panorama section. After an accident, two high-school boys from the outskirts of Rome are sucked into a maelstrom of violence, drugs and prostitution.

The turmoil of adolescence is broached in the German Competition title My Brother's Name Is Robert and He Is an Idiot by Philip Gröning, which revolves around two teenage twins for whom time almost stands still while they discuss philosophy, lying in a blissful cornfield near a remote gas station. Meanwhile, in the Swedish Berlinale Competition film The Real Estate by Axel Petersén and Måns Månsson, the protagonist feels under pressure when she inherits an apartment building from her father, who has just died. When she returns to Stockholm, she discovers that various flats are under illegal black-market contracts. She then has only two options: keep the building as it is or sell it – but it needs to be done quickly.

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