Berlin?s Radialsystem V is the prototype for a new generation of concert houses ...
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Storm Saxons and a shaved-headed Natalie Portman have people flocking to James McTeigue's "V for Vendetta". Cinema at its most despicable: Pen-ek Ratanaruang's "Invisible Waves", and loving a serial rapist: "Der Freie Wille" by Matthias Glasner.
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Detlev Buck's "Tough Enough" looks at the life of a rich boy in a rough area where the ultimate insult is "victim!" Terence Malick's "The New World" is little more than soft colonialist porn. Robert Altman's "A Prairie Home Companion" is good, harmless family entertainment. Chen Kaige's "The Promise" desires to blockbuster. Stephen Gaghan's "Syriana" is an introductory seminar on the dirty ol' oil business. And Oskar Roehler's "Atomised" has taken the horrible out of Houellebecq.
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The festival got off on a gentle note with Marc Evans' "Snow Cake". Blood, sex and gore - but not for gore's sake - soon took audiences by storm, though, with Sono Sion's "Strange Circus". Pernille Fischer Christensen's "En Soap" was sadly just a washout. And "Close to Home" by Dalia Hager and Vidi Bilu shows 18-year-old girls struggling to sound authoritative in their army uniforms on the streets of Jerusalem.
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This evening, Marc Evans' film "Snow Cake" will open the Berlinale film festival 2006. Ekkehard Knörer is keeping his eyes peeled for the mad and the beautiful, the puzzling and the devasting, understatement and excess. Stay with us for a front-row seat.
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Steven Spielberg's film "Munich" deals with the 1972 Olympic hostage taking and its bloody aftermath. The film is a provocative blend of cliches and originality, wisdom and presumptuousness, as inextricably tangled as the Middle East itself. By Tobias Kniebe
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In Michael Haneke's new film "Cache", a Parisian citizen is confronted with a dark episode from his childhood – and suddenly France's colonial history comes rushing to the surface. The Austrian director talked to Dominik Kamalzadeh about guilt, guilty consciences and the legacy of the Algerian war.
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Patrice Chereau describes his newest film "Gabrielle" and the challenge of adapting Joseph Conrad for the screen. An interview with Gerhard Midding.
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Andreas Dresen's "Summer in Berlin" hits the screens in Germany today. The sunny milieu film tells of cool nights, hard liquor and love in the time of Hartz IV. By Christoph Dieckmann
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Danish filmmaker Lars von Trier talks about sexual fantasies, the Pope, America, slavery and his new film "Manderlay" with an undaunted Katja Nicodemus.
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Christian Petzold's most recent film "Gespenster" ("Ghosts"), which premiered at the Berlin Film Festival this year, has now opened in German cinemas. Anke Leweke raves about this ghost story, set in Berlin's here and now.
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Sometimes the strong points of a director cannot be had without the
weak ones. "Don't Come Knocking" is Wim Wenders' best film in a long
time. By Katja Nicodemus
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The future of cinema is threatened by the rise of the DVD. But cinema is also working hard at its own downfall. By Georg Seeßlen
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After winning the Golden Bear in Berlin for his last film "Head On", Fatih Akin has now made a documentary on Istanbul's music scene. A talk with Daniel Bax on the film "Crossing the Bridge", tour guides and Vikings, music divas and the responsibilities of critical acclaim.
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Polish cinemas are full of films by the younger generation of German filmmakers. Their common theme seems to be rebellion. Or, as Adam Krzeminski sees it, rebellion lite.
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Looking for the genius in the engineer: Werner Herzog's monumental
documentary "The White Diamond" follows a Zeppelin-builder through the
jungle of Guyana. A heroic journey to the borders of embarrassment and
beyond. By Dietmar Kammerer
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