I think its so wonderful when you read scripts that youre excited about, that you want to spend a year or more of your life on. Thats a rare thing, and I think Sarah has written such a great script that I was so excited to get to spend a lot of time with it and its world. It was almost like Sarah was inviting me to walk into a labyrinth that becomes your own mouth.
For the 2020 edition, Japan Cuts, like so many festivals, has become an online affair. But instead of scaling down for this pandemic edition, the programmers and organizers of Japan Cuts have boldly expanded their grasp while maintaining its usual selections: flashy opening and centerpiece films, a Documentary Focus, an Experimental Spotlight, a small bath of restored Classics, a Shorts Showcase, and a slate of solid feature films.
One of the biggest festivals in Europe, and partner to massive parallel industry events like the European Film Market, the Internationale Filmfestspiele Berlin is a behemoth, and over the past several years the consensus around its creative direction under Dieter Kosslick has turned decidedly sour. The job of a festival this size is, perhaps, less to reinvent cinema than to provide a tent capacious enough to accommodate all types of cinematic output.
Despite the increased sense of dislocation, Oberhausens indisputable global sprawl and breathless open-mindedness to diverse artistic styles and concernsfrom childrens and artists films to music videos and web seriesremained a useful reminder of its durable status as one of the most important festivals of its kind.
Set in the cultural heart of El Valparaíso, Chile, it tells the story of Ema (Mariana di Girolamo)a young dancer who, in an attempt to reunite with the adopted son she previously returned to social services, breaks away from the curbing influence of her husband and Pygmalion.