Berlinale 75: "Blue Moon" isn't your traditional biopic

by Elisa Giudici

Watching Blue Moon, I couldn’t help but think of Inside Llewyn Davis, one of the Coen brothers’ most accomplished yet underappreciated films. That movie introduced Oscar Isaac in what remains his most astonishing performance, portraying a talented but ill-fated musician who arrived just a bit too soon to achieve success. A similar fate awaited Blue Moon’s protagonist, though his story unfolds decades earlier, in 1943 New York, amid the turmoil of World War II...

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Berlinale 75: On the Golden Bear-winning "Dreams"

by Elisa Giudici

First love is by definition all-consuming, reshaping one’s world with overwhelming intensity. In Dreams (Sex Love), a multi-generational reflection on first love from Norwegian director Dag Johan Haugerud, captures this transformative experience, The movie tells the story of Johanne, a high school student who falls deeply for her French teacher. While the premise may seem familiar, the film’s execution is anything but. With remarkable authenticity, Dreams conveys the raw, feverish energy of youthful desire—both in mind and body—while weaving in a broader meditation on love across different stages of life...

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Berlinale 75: Bong's back with "Mickey 17"

by Elisa Giudici

Bong Joon-ho rarely misses the mark—or at least, he approaches his projects with such precision that his return to the big screen after Parasite feels both carefully crafted and self-assured. Following a film that not only reshaped his career but also changed Oscar history by opening the doors to international cinema, Mickey 17 carries the weight of great expectations. It may not reach the towering heights of Parasite, but it reaffirms Bong's status as one of the most inventive and influential Korean directors on the global stage.

Interestingly, Bong Joon-ho was already a successful Hollywood filmmaker long before Parasite became a global phenomenon. Films like Snowpiercer and Okja demonstrated his ability to blend spectacle with social commentary, and Mickey 17 feels like a return to that style—for better and for worse. This time, he tackles the sci-fi genre again, weaving a narrative that is both thought-provoking and undeniably entertaining...

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Berlinale 75: "Dreams" is sure to be controversial

by Elia Giudici 

After the Emilia Pérez affair, Dreams by the Mexican director Michel Franco presents a portrait of the Mexican population that is sure to spark intense debate. Even as the audience left the theater, groups of journalists were already engaged in animated discussions among themselves. This is because, at the film's conclusion, Franco makes a bold choice that inevitably compels one to take a firm stance. His hand, clearly visible, is that of the director of Nuevo Orden, a filmmaker who, when confronted with violence and cruelty reaching almost unbearable heights, approaches them with the cold detachment of a surgeon...

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Berlinale 75: Manipulative Partners and Matters of Motherhood

by Elisa Giudici

HOT MILK, Rebecca Lenkiewicz

Hot Milk is a hot mess, a disappointing misfire for all involved. 

Expectations were high for Rebecca Lenkiewicz's directorial debut. As an acclaimed screenwriter behind the brilliant Polish drama Ida and the emotionally charged Disobedience, she seemed poised to deliver a sensual and compelling contender for the Golden Bear. The film also featured a strong trio of actresses: Sex Education's breakout star Emma Mackey, the ever-impressive Fiona Shaw, and Vicky Krieps—renowned for her sophisticated choices in European cinema. Yet, despite this promising lineup, Hot Milk struggles to find its rhythm and tone, failing to engage its audience from the very beginning...

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