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German Works by Fatih Akin, Mascha Schilinski, Christian Petzold Unspool in Cannes, Animation Set for Major Market Showcase

German Works by Fatih Akin, Mascha Schilinski, Christian Petzold Unspool in Cannes, Animation Set for Major Market Showcase

Yahoo22-05-2025
German films and co-productions in Cannes this year are sure to entice festgoers and buyers alike with an eclectic selection heavy on historical drama and animation fare.
Highly anticipated works by Fatih Akin, Mascha Schilinski and Christian Petzold are premiering at the festival along with German co-productions from Wes Anderson, Sergei Loznitsa and Kirill Serebrennikov that explore postwar Germany, lives intertwined through time, loss and grief, international espionage, Stalin's Great Purge and a war criminal's escape from justice.
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Unspooling in Cannes Premiere, Akin's 'Amrum' is a family drama set in 1945 on the titular North Sea German island and based on the autobiographical novel of screenwriter Hark Bohm, who also penned the script. It centers on 12-year-old Nanning (Jasper Billerbeck), who does everything he can to help his mother feed the family during the last days of the war, only to face all new challenges when peace finally arrives. The Beta Cinema title also stars Diane Kruger, Laura Tonke, Lisa Hagmeister, Detlev Buck and Matthias Schweighöfer.
''Amrum' is a very special project: it combines Hark Bohm's personal story with Fatih Akin's signature style and brings a piece of Schleswig-Holstein to the Croisette,' noted Helge Albers, CEO of regional funder MOIN, which supported the pic.
Vying for the Golden Palm, Schilinski's sophomore work, 'Sound of Falling,' produced by Studio Zentral and handled internationally by MK2 Films, tells the story of four women from different time periods who spend their youth on the same farmstead and whose lives are eerily intertwined.
Petzold's 'Miroirs No. 3,' sold by The Match Factory, screens in Directors' Fortnight and marks the director's fourth collaboration with Paula Beer, who plays a music student struggling with the sudden loss of her boyfriend and the mysterious family who offers her assistance.
Anderson's U.S.-German co-production 'The Phoenician Scheme,' co-produced by and shot at Studio Babelsberg near Berlin, also premieres in competition. Boasting an all-star cast, the period film stars Benicio del Toro as a European business magnate facing major international challenges to his ambitious infrastructure project in the fictional West Asian nation of Phoenicia. Focus Features is distributing the film globally.
Likewise in competition is Loznitsa's 1937-set 'Two Prosecutors,' whose producers include Leipzig-based LOOKSfilm. The Coproduction Office title follows an idealistic young Soviet prosecutor who comes across a letter written by a prisoner. Believing the man to be a victim of the People's Commissariat for Internal Affairs (NKVD) — at the time, the Soviet Union's dreaded interior ministry and secret police — the prosecutor embarks on a dangerous journey in the pursuit of justice in Stalin's USSR.
Serebrennikov's 'The Disappearance of Josef Mengele,' based on the novel by Olivier Guez and co-produced by Berlin-base Lupa Film, screens in Cannes Premiere, with Kinology handling international sales. German actor August Diehl stars as the notorious Nazi doctor who, as a fugitive, flees to South America following World War II, eluding capture for his crimes.
Also vying for the Golden Palm are Joachim Trier's Scandinavian drama 'Sentimental Value,' which counts Berlin-based Komplizen Film among its co-producers; and Kleber Mendonça Filho's historical thriller 'The Secret Agent,' set in 1977 Brazil and starring Wagner Moura and Udo Kier and co-produced by Berlin's One Two Films.
Other competition titles with German co-producers include Carla Simón's Spanish drama 'Romería' (Ventall Cinema); 'La petite dernière' by French filmmaker Hafsia Herzi (Katuh Studio); and Tarik Saleh's Egyptian drama 'Eagles of the Republic' (Films Boutique).
German producers likewise backed a number of Un Certain Regard selections, including Morad Mostafa's Cairo-set 'Aisha Can't Fly' (Mayana Film); Francesco Sossai's Italian drama 'The Last One for the Road' (Maze Pictures) and Diego Céspedes' 1980s-set Chilean tale 'The Mysterious Gaze of the Flamingo' (Weydemann Bros.).
Also unspooling in the sidebar is Arab and Tarzan Nasser's 'Once Upon a Time in Gaza,' which counts Hamburg companies Riva Filmproduktion and Red Balloon among its co-producers. The film follows on from the Nasser brothers' festival hit 'Gaza mon Amour.'
This year's Cannes Film Market, meanwhile, boasts German comedy, family, drama, documentary and animated fare.
Picture Tree Intl. (PTI) is presenting Simon Verhoeven's 'Old White Man' from Wiedemann & Berg and Sentana Filmproduktion. The comedy stars Jan Josef Liefers as advertising manager Heinz, who sets out to prove he's no old white man with a carefully orchestrated dinner party intended to secure a promotion but that instead turns into a minefield of political correctness, awkward revelations and unexpected chaos.
PTI is also screening 'Prank,' a family adventure-comedy directed by Benjamin Heisenberg ('The Robber'), who co-wrote the script with Peer Klehmet ('The Famous Five'). Produced by Berlin-based Kundschafter Film and Zurich's Tellfilm, the film follows 12-year-old Chinese exchange student Xi Zhou (Max Zheng), whose seemingly innocent April Fool's prank spirals out of control and drags his host family, their son Lucas (Noèl Gabriel Kipp) and his crush Charly (Maïmouna Rudolph-Mbacké) into a tumultuous adventure.
Among the titles presented by Pluto Film are two award-winning German works: Julia Lemke and Anna Koch's Berlinale documentary 'Circusboy,' about 11-year-old Santino, a child of the circus; and Mehmet Akif Büyükatalay's film crew thriller 'Hysteria,' which won the European Cinema Label in Berlin.
The Playmaker Munich offers Christina Tournatzès' 'Karla,' based on a true story, about a 12-year-old girl who, in 1962 Munich, files a complaint against her own father, seeking protection from years of abuse.
The company also presents Viktor Jakovleski and Nikias Chryssos' 'Rave On,' which follows Kosmo, a reclusive music producer who tries to deliver his latest record to a legendary DJ playing in Berlin's most notorious techno club, but what begins as a simple mission soon derails into an existential rave odyssey. Aaron Altaras and Klemens Schick star.
Likewise in The Playmaker lineup is Norbert Lechner's 'The Secret Floor,' in which 12-year-old Karli, newly arrived in the Alps, where his parents have acquired a hotel, discovers he can travel back in time in the building's old elevator – to the year 1938. There he befriends lively Jewish girl Hannah and shoeshiner Georg and witnesses the rising menace of the Third Reich.
Family entertainment specialist Studio 100, meanwhile, is showcasing a slew of animation productions:
'Heidi – Rescue of the Lynx,' by Tobias Schwarz and Aizea Roca and set for release this year, follows the spirited 8-year-old Swiss heroine who lives in the Alps with her gruff but loving grandfather. After rescuing an injured lynx cub, she uncovers a dastardly plot by a sly industrialist that threatens her beloved home and the entire alpine ecosystem.
In 'Arnie & Barney,' by Sean Heuston and set for delivery in 2026, an ant platoon tries to save their community during a severe drought. Not cut out for heroics, inept ant soldiers Arnie and Barney decide to tackle the problem by themselves, inadvertently becoming the most unlikely of heroes in the process.
'Conni – Mystery of the Crane,' by Dirk Hampel, follows a young girl and her friends who help a hurt crane recover from his injuries in the hope that he can fly south with his flock. Currenty in production, the film is also set for delivery in 2026.
In Rob Sprackling and Raúl Garcia's 'Flamingo Flamenco,' a dancing flamingo named Rosie is left traumatized after losing her sister to an attack by wild dogs. A shadow of her former self, the grieving Rosie has also lost the joy of dance – until she meets Carlos, a carefree and exuberant lizard who encourages her to dance once more. Currently in production, 'Flamingo Flamenco' is set for release in 2027.
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Owner Thought Rescue Dog's Breed Was 'Obvious'—Then Gets Shock DNA Results
Owner Thought Rescue Dog's Breed Was 'Obvious'—Then Gets Shock DNA Results

Newsweek

timean hour ago

  • Newsweek

Owner Thought Rescue Dog's Breed Was 'Obvious'—Then Gets Shock DNA Results

Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. A woman who adopted a mixed-breed puppy thought she knew what she was getting, until DNA results proved a major shock. Mizuki Arai lives in Westchester County, New York, and recently became the owner of adorable puppy Lyle, whom she adopted from a shelter in Louisiana after seeing photos of him online. Arai, who is expecting her first child, told Newsweek: "People told us we were nuts for getting a puppy now, but we're putting in a lot of work, and he's becoming a very promising family doggo. He's just so awesome, and we love all the different sides of him." It took a while to get to know their new puppy properly—because, while his profile stated Lyle was an Australian shepherd and Australian cattle dog mix, Arai wasn't convinced. She and her partner believed that, based on his looks, he was a flat-coated retriever, a breed closely related to the Labrador retriever. When Google reverse image search and AI appeared to agree when presented with Lyle's photos, the couple thought that was the end of it—but then they saw photos of Lyle's siblings and mother, and they were left with "no idea" what Lyle could be. Because, not only were those dogs definitely not retrievers, they also all looked completely different: some with a merle coat; some black, white or brown; some with short hair; and some boasting a fluffy coat. Arai and her partner decided it was time to put the mystery to rest with a DNA test, as they were "trying to prepare for what size and temperament we can expect as best as possible." And having already begun training their new puppy, the couple told Newsweek, "knowing his genetics will help us guide him in the ways he would be most responsive." Three weeks later, they got their answer. The test results said Lyle was 19 percent German shepherd dog; 16 percent Labrador retriever; 15.5 percent American pit bull terrier; 11 percent Australian shepherd; 8 percent chow chow; and 7.9 percent boxer. From left: Lyle the rescue puppy rests at home. From left: Lyle the rescue puppy rests at home. Reddit u/supercooper77 Lyle was also, the test suggested, 16 percent "Supermutt," meaning he has ancestry from several different breeds but whose DNA segments are too short to be confidently identified, according to the Embark DNA testing website. Arai said that the results have proved extremely helpful when training him, as they now know he is "one-third herding breeds, one-third guard breeds, and one-third hunting and retrieving breed. It's a good mix!" As the couple got to know Lyle while waiting for his test results, the puppy "really started to show his personality," and they came to suspect he had German shepherd ancestry. "He had a lot of herding instincts, and he was such a 'Velcro dog' and gave us very little privacy," Arai said, but added he is "also very much a Labrador." "We took him to Lake Ontario, and he went nuts for the waves and water. He got to use his big webbed paws—a Lab thing—to doggy paddle. He was a bit wary of strangers at first, which is a shepherd thing, but as he got comfortable, he became very loving, friendly, and playful with everyone and every dog—more of a Lab thing!" Arai shared her unique pup's story to Reddit's u/DoggyDNA via her account u/supercooper77 on August 20, where she wrote: "We thought his breed was obvious until we met mom and siblings." In the post, Arai shared photos of Lyle settling into his new home, taking naps, stretching out, and playing with toys. She then shared a snap of Lyle's mother and littermates, followed by the DNA test. "Everyone (including us) assumed he was a flat coated lab mix. Then we got the rare chance to meet his mom and siblings … and suddenly nothing looked so obvious anymore," Arai said. "Same family, totally different looks. His DNA tests are in the last pic—this pup is a true sheprador mutt, a certified good boi, and very much a dog of the world!" Reddit users were fascinated, with one commenter calling him, "one hundred percent gorgeous, as is his extended family!" "I called GSD and Chow Chow," another wrote. "It's never a flattie. He is gorgeous." A third posted: "Actual flat coat mixes are very rare. I was thinking maybe pyrenees and GSD [German shepherd dog]." Flat-coated retrievers are known for their cheerful, good-humored nature, and ability to get along with family, small children and other dogs. While as tall as Labrador retrievers, they are leaner and more elegant, according to the American Kennel Club. In 2024, flat-coated retrievers ranked 97th in the AKC's list of the most-popular dog breeds. Do you have funny and adorable videos or pictures of your pet you want to share? Send them to life@ with some details about your best friend, and they could appear in our Pet of the Week lineup.

Wes Anderson's ‘The Phoenician Scheme' disappoints
Wes Anderson's ‘The Phoenician Scheme' disappoints

Yahoo

time4 hours ago

  • Yahoo

Wes Anderson's ‘The Phoenician Scheme' disappoints

Wes Anderson's latest movie lacks a compelling, comprehensible storyline, or characters viewers would care about. The Phoenician Scheme, Wes Anderson's latest movie, which opens Thursday in theaters all over Israel, has every quirk and flourish that his fans have come to expect and that his detractors find annoying: meticulous production design, a star-studded cast featuring many of his regulars, plus a couple of newcomers, who speak in monotones; symmetrical shots; planimetric staging (actors in front of flat backgrounds, which makes sets resemble a stage); incredibly detailed models for backgrounds rather than green screens or location shooting; precocious, adorable children; a stylized color palette in color scenes, interspersed with black and white sections; a dysfunctional family at the center of the story; and a chapter structure, complete with title cards. But it doesn't include a compelling, comprehensible storyline, or characters you care about. I can remember dozens of details of specific shots, but I also recall wishing frequently that it would end already, and it's only 101 minutes long. It's a comedy/espionage thriller, focused on a single family, and that makes it marginally more entertaining than his previous film, Asteroid City, which featured a sprawling storyline about a space exploration convention for teens in the desert in the 1950s, interspersed with black-and-white shots of a teleplay about the desert story being directed and acted for a prestige television broadcast. It made me feel like I was being tested on my knowledge of 1950s pop culture and arcane trivia about the Actor's Studio and Playhouse 90, but it didn't elicit any other response. Movie plot A plot summary for The Phoenician Scheme will likely make it seem more entertaining than it is, but it starts out strong, with the latest assassination attempt on arms dealer and industrialist Anatole 'Zsa-Zsa' Korda (Benicio Del Toro) in 1950, while he is aboard a private plane. This excitingly photographed, fast-paced sequence turned out to be the highlight of the movie. Korda has amassed a fortune through making unscrupulous deals, and he has many enemies. He may be meant to conjure thoughts of prominent businessmen today, but it's all too whimsical and elaborate for any real political commentary to come through. While he is unconscious following the attempt on his life, he enters a black-and-white afterlife, where a tribunal judges his fitness to enter Heaven. Bill Murray, an Anderson fixture, plays God, but oddly doesn't get any good lines. When Korda awakens, he realizes that the assassins will catch up to him sooner or later and resolves to mend fences with his daughter, Liesl (Mia Threapleton, Kate Winslet's daughter), a Catholic novice whom he placed in a convent when she was a child. She, and everyone else, suspects that he murdered her mother. He chooses her to inherit his fortune, leaving out her nine brothers. Liesl barely shows any emotion as she abandons the convent and sets off with her father in his peripatetic existence, accompanied by Korda's tutor, Norwegian entomologist Bjorg (Michael Cera, with an unclassifiable accent and a big mustache). While various governments are cracking down on Korda's unethical tactics, he finds an opportunity that he wants to pursue, the titular scheme, which involves using slave labor to turn a profit in a mythical Levantine country, ruled by Prince Farouk (Riz Ahmed). Korda spans the globe, finding investors to cheat. These include two Californians named Leland and Reagan (Tom Hanks and Bryan Cranston), a French Algerian night-club owner (Mathieu Amalric), and Marty (Jeffrey Wright) from Newark. Along the way, he meets up with his estranged half-brother (Benedict Cumberbatch), a vaguely Teutonic cousin (Scarlett Johansson), and another dozen characters, most of whom get a scene or two. There's a subplot involving terrorists who look like European university students, and one of the main characters turns out to be a US government spy. Anderson's references As with most of his recent movies, I spent much of the running time figuring out what Anderson was referencing in each scene. For what it's worth, I thought that it might be an attempt to recreate movies produced by Hungarian émigré to Britain, Alexander Korda – since that is the main character's name – who produced various dramas and adventure films. The afterlife tribunal seems to reference the Michael Powell/Emeric Pressburger movie, A Matter of Life and Death. Korda produced some of Powell and Pressburger's movies, although not this one. I could come up with more suggestions, but in the end, it's a game that proves that I had no real interest in the actual story. Anderson collaborated on the screenplay with Roman Coppola, the younger son of Francis Ford Coppola, as he has for most of the movies he has made in the past two decades. The three Anderson movies that had the most impact on me, where the characters were both archetypes but also emotionally resonant, were his first three: Bottle Rocket, Rushmore, and The Royal Tenenbaums, which were all co-written by actor Owen Wilson. I get the impression that Wilson is more emotional than Anderson, and that he helped keep the focus clearly on the characters rather than the production design and allusions. Every time I go to an Anderson movie, I hope for the magic of the first three – and time and again I've been disappointed, as I was withThe Phoenician Scheme. The movie is dedicated to Fouad Mikhael Maalouf, a Lebanese businessman who was Anderson's late father-in-law. He has described Maalouf as intimidating and fascinating and he apparently inspired the Korda character. The movie clearly means something personal to Anderson, more so than most of his movies, perhaps. It's too bad it won't mean much to audiences. Solve the daily Crossword

Review: ‘Eden' tells the gripping story of a real-life utopia that turned disastrous
Review: ‘Eden' tells the gripping story of a real-life utopia that turned disastrous

San Francisco Chronicle​

time18 hours ago

  • San Francisco Chronicle​

Review: ‘Eden' tells the gripping story of a real-life utopia that turned disastrous

In the early 1930s, Friedrich Ritter, a German physician and would-be philosopher, moved with his partner, Dore Strauch, from Berlin to the uninhabited Galapagos Island of Floreana. They wanted to escape the corruptions of modern life and hoped that outdoor life might cure Dore of multiple sclerosis. Unbeknownst to them, some letters that Friedrich had written about his and Dore's experiment in living eventually made it into the German-language press, and soon they were joined on the island by another German couple, Heinz and Margret Wittmer. Friedrich and Dore weren't happy about this development, but as disruptions go this was nothing compared to the stresses and disasters that would follow. The true history of the Floreana settlement is irresistible and exposes the gulf between high human aspiration and low human nature. The tale has already been the subject of a brilliant documentary – 'The Galapagos Affair: Satan Came to Eden' (2014), by Bay Area filmmakers Dan Geller and Dayna Goldfine. And now the story takes the form of an effective dramatic feature, 'Eden,' from director Ron Howard. In 'Eden,' Howard stays pretty close to the real-life details, adhering to the known facts, while filling in the gaps in the story with plausible suppositions. Jude Law plays Friedrich as a self-infatuated man of destiny, too focused on the grand issues of life to concern himself with the pain or discomfort of anyone, including himself. In one scene, he maintains his end of a conversation while using a knife to cut out insects that have burrowed into his arm. One would think that, in any small community, a man like Friedrich would be able to maintain his position as the town eccentric. Dore is played by Vanessa Kirby, who lends the role an unexpected air of mystery and suppressed anger, but she's fairly normal compared to Friedrich. And the Wittmers — Daniel Bruhl and Sydney Sweeney — are a nice young couple that just wants to get along. But then comes the 'Baroness' (Ana de Armas), an Austrian egomaniac who shows up one day with her two lovers, brandishing guns and announcing that she plans to build a hotel and turn Floreana into a tourist destination. She's cheerful and charming, but a bit crazy and perhaps worse than that. As Armas's performance suggests — and eyewitness testimony later attested — the Baroness was the snake in the garden, a force of evil. Ron Howard gives the Baroness a Wagnerian entrance, and from that point on, she drives the movie. As a sociopath who can only imitate normal human pleasantries, she asks Mrs. Wittmer about her harrowing experience of giving birth while fighting off a pack of wild dogs. 'You must tell us about the birth. Was it fun?' The only weakness of the movie is that, because it's a true story, it can't rearrange the order of events for maximum drama. Thus, what is essentially the climax of the film comes about three quarters in, and the rest of it, while never less than interesting, feels like falling action. The good news is that Sweeney and Kirby get their best scenes, respectively, in this last section of the movie. Sweeney continues to surprise. Though she became famous for comparatively glamorous roles in ' The White Lotus ' and 'Anyone But You,' she keeps taking on challenging parts that indicate a performer with lots of fire and very little vanity. Her monologue in which she faces off against the local police is a marvel of unexpected, understated strength. So, 'Eden' is worth seeing, and the only question that remains is whether you should see 'Eden' or 'The Galapagos Affair' first. I saw the documentary first, but doing it the other way might work just as well. For sure, they each will enhance the experience of the other.

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