I’m never quite sure whether the Berlinale is pure torture or if that torture isn’t tempered with an edge of pleasure. I do always seem to miss it when it’s done. For a week and a half, we wake up at 5:30 in the morning, dragging our unkempt, sleep-deprived bodies through the chilly Berlin dark to spend hours waiting in line with other unkempt, sleep-deprived people. We pick up reams of tickets and spend the days sprinting through all the city’s theaters watching films – many bad, some bizarre, others baffling. It’s a rare film that has it all – a good story, believable acting, a beginning, a middle, and an end.

Of this year’s 22 films (a few shy of last year’s 28), four were good, four were bad, and the rest were middling, clunkers earnestly attempting to fly, good ideas with bad execution, stilted acting undercutting interesting stories, tired stories propped up by excellent acting. Of all the films I’ve seen so you don’t have to, War on Everyone and Alone in Berlin are at the top of the list. For a story whose real-life stakes were so incredibly high, Alone in Berlin manages to have none. By the time the couple is executed (surprise!), the only thing that moves you is how Daniel Brühl, a German, has managed to sound like an American speaking with a German accent for two whole hours. And War on Everyone, well, unless you enjoy watching people be offensive while suffering under the illusion that they’re being ironic, don’t waste your time.

But let’s not dwell in negativity. The two best films I saw this year were miles apart in theme and temperament. Goat is a frightening, dark, and layered look at brotherhood and belonging (set at an American college fraternity). » Continue reading this post...