I recently went on a trip to Berlin with my girlfriend, in part for a nice getaway, but mainly because I was dying to go back to the Berlin film festival (Berlinale), after having been a few years ago. Berlin is a massive city, but such a lovely one, full of culture, plenty of food, and a hell of a lot of things to do. Amongst many touristy ventures: sightseeing, museums, you name it, we also managed to catch seven films during the festival, which was a delight. Though the films we watched were of varying quality, the experience of being able to be at the festival at all was definitely one I will not soon forget. Rather than doing lots of individual reviews for these films, this is a summary and a series of brief reviews of those seven films.

Ghost in the Cell (Directed by Joko Anwar)

As the only world premiere we saw, this felt quite special. As a relatively small-time Indonesian picture, this was in a rather tiny but quaint venue, though the film’s boisterousness and energy made it feel larger than life. Set in a rough and corrupt prison, full of terrifying ne’er-do-wells, this horror-comedy pits these prisoners at the mercy of a ruthless, vengeful spirit, insistent on wiping them out one by one. Incredibly tongue-in-cheek and spoofy, this was a hilarious riot that set the tone for our time at the festival very nicely. Though schlocky and heavy-handed with its storytelling and the presentation of its themes, that hardly matters when the full package is as entertaining as it is. The dialogue can be iffy, but the comedy rarely misses, and that alone makes it worth watching. It had the screening roaring with laughter regularly, which just made the festival atmosphere even more memorable. One running joke which about sums up its endearing stupidity is that one of the prisoners can see everybody’s aura, assuming that those with a red, angry aura are to be killed off next. He warns each character when their aura turns nasty, and they often just start star-jumping or dancing around in order to make themselves more positive. It was funny every single time, even if the joke might have been a bit overused. The most impressive thing about this film, though, was the spectacular kills, which I will not spoil, but every single one was forged like an art piece, of spectacularly gory fashion. This film was great, and I recommend you seek it out if you want a good time that is not taking itself too seriously. Score 8/10

Mouse (Directed by Kelly O’Sullivan and Alex Thompson)

This was the best film we saw at the festival, and it was not really close in my mind. No disrespect to the other films we saw, but this was the only one that I watched and thought was very special. It follows a girl named Minnie (Katherine Mallen Kupferer), who struggles to fit in with those around her and is just trying to get to the end of high school, though she does not know what she will do afterwards. Her best friend Callie (Chloe Coleman), however, has it all figured out. She wants to be a star, and her popularity, talent, and charisma show how possible that might be. In the blink of an eye, that drive is cut short, and Callie’s absence is felt everywhere, but mostly within Minnie. This story is as interesting as it is emotionally arresting, and it is truly brilliant to see it unfold. Kelly O’Sullivan talked after the film, reflecting on how this film was part of her own personal experience growing up. That is reflected in the maturity shown in composing this story, through its louder moments, but also those more subtle and nuanced. Minnie’s striving to fill that hole left by her best friend is heartbreaking, but it is so interesting to see a coming-of-age story unfold in this way. The performances are exceptional, particularly Sophie Okonedo as Callie’s mother. The only thing that keeps me from giving it a perfect score is some iffy dialogue at times, but there are equal parts some exceptional lines. I will say no more for fear of ruining it, but this is a must-watch when its wide-release comes. Score: 9/10

Sunny Dancer (Directed by George Jacques)

Starring Bella Ramsey, Sunny Dancer follows Ivy, a 17-year-old who has been in remission from leukemia for ten months. Her parents decide she needs to mix with more people sympathetic and connected to her situation, so they send her to a ‘chemo camp’ against her will. She makes new friends and progressively learns to feel normal and like a kid again, after her childhood was robbed from her by cancer. This is definitely a heartwarmer, but nothing will prepare you for how funny it is. Unapologetically British and full of charm, it does feel incredibly authentic in presenting these young, rebellious kids who are just now experiencing life as they should have. It is generally written very well, with the comedy being effective and the story running alongside it satisfyingly. It can be rather generic at points, but it rarely stumbles throughout most of the film, and it is very enjoyable to watch. However, the ending to this film is ridiculous and almost completely ruins the whole thing. It is trying to say something about cancer and how much of a life-ruiner it can be, but it just does not work at all. This film is about these kids learning normality again, taking back their childhood, and coming-of-age at a later point in life. It should have remained so, and thus, the ending puts a real dampener on things. It does not stop the film from being worth watching, but be prepared going into it. Score: 7/10

Good Luck, Have Fun, Don’t Die (Directed by Gore Verbinski)

Considering the subject matter and the sentiment of this film, I thought I would like this film much more than I did. As someone who loves writing, but also as just someone who loves art, it will shock nobody that I hate generative AI and everything surrounding it. Of course, it was not going to be long before somebody made a film about it, with it essentially being the main villain. I like some of Verbinski’s work, but I would never go beyond ‘like’. Apart from perhaps A Cure for Wellness, I have never watched one of his films and thought it really had something unique and strange about it. With this film, it is fair to say that it is pretty unique and definitely nuts enough that you will get some enjoyment out of it by default. But outside of its craziness and constant one-upping of how random it can get, it just feels quite hollow in a way that is hard to explain. It hits you over the head with anti-AI, and whilst I support that all the way, that is all it really has to say, and anybody who appreciates films as an art form will know that already. The cast is having a good time, and some of its setpieces and comedic moments will make you do so, too, but it is devoid of anything to really grab you and insist that you pay attention. Score: 6/10

Animol (Directed by Ashley Walters)

Set in a young offenders facility, Animol follows Troy, a young man who is wrongly thrown into a world that is more dangerous and cutthroat than he could ever imagine. Saying a lot about British gang culture and all the violence that comes with it, this is a real heart-racer of a film that flies by due to how tense it is. Walters has manufactured such an atmosphere within this prison, full of dangerous and unstable people that do not feel hammed up or unrealistic. It is genuinely quite terrifying at times, especially when you consider that this is a reality for some people. Characters make it very clear to Troy that you need to have loyalties and friends in there, or you might not make it out alive, and that fear is demonstrated very well. Portrayed very well by Tut Nyuot, Troy is a very interesting character, and he is clearly not a bad person, seeming very out of place in such a horrible environment. The most interesting thing is that repression of emotion that you have to have in places like this, never fully showing your hand to anybody, or people will capitalise on it. It says a lot about masculinity, going back to that age-old facade of needing to act threatening to get anywhere and climb up the pecking order, with the weak being left at the bottom. It is a tough watch to see the place change him, but it is necessary for his own survival, and that is what makes this so engaging and definitely worth a watch. Score: 8/10

At the Sea (Directed by Kornél Mundruczó)

I should preface that I seem to be one of the only people who liked this, and frankly, I cannot see why that is the case. This stars Amy Adams as Laura, a recovering alcoholic fresh from rehab and trying to readjust to normal life. I think what this film paints so well is that adjustment, particularly when it comes to the absence of parenthood. Her children are quite resentful of her when she comes back, and she really struggles to slot back into that gap that has been left. Her son is young, so he is a bit easier, but her teenage daughter feels abandoned by her and cannot reconnect with her, particularly after the accident that meant rehab was her only option. This works so well, mostly because it reflects her own life too, and it creates this sprawling theme of parenthood, and also how the lack of it leaves a lot of scars for the children affected. Perhaps the most integral part of all this, though, is how dance is used to reflect emotion and how evocative that can be. Laura was a dance extrodinaire, much like her father, and her daughter is following in those footsteps too. Dance is used at multiple points, and words are simply not needed during those moments, feeling the ferocity of anger and the placidity and silkiness of sadness, just from the choreography. I think it really works, although it seems not everybody thinks that way. It does have pacing issues, and some scenes do go on for too long, but I thought this was great, and I recommend forging your own opinion. Score: 8/10

Rosebush Pruning (Directed by Karim Aïnouz)

As this was slated to be one of the big ‘ones to watch’ of the festival, I was quite excited for this one. However, I cannot stress how much I did not, and as the last film that I saw at the festival, it was a vast disappointment. It follows a rich family that lives in a Spanish villa, and it is essentially just them going about their days and being incredibly strange. The story does not really go much further beyond this, other than Jamie Bell’s character wanting to leave the family and be with his girlfriend, played by Elle Fanning. Their story is perhaps the only remotely interesting thing going on in this film, which does not seem to be being hammed up and trying to be as strange as possible. And that is just it: every scene insists on being overtly sexual, incestuous, or just disgusting for no real reason. Of course, it is a commentary on rich families that are all inbred and awful, but it says nothing of note at all. Many people have likened this to a poor version of what Yorgos Lanthimos would come out with, and I would agree. That really lets you know how this film is because Lanthimos’ films are uncomfortable at times, but all of that discomfort has a purpose beyond shock value. The script is dreadful, some of the lines are diabolical, but the biggest crime is that this is trying so hard to be funny and yet is not in the slightest. The film’s visual palette is appealing, but that is the only real thing that kept me going throughout, because none of it worked for me narratively. Score: 3/10