57th Berlinale 2007 round-up – So, what's it been this year?

There has been much reporting on how this year's Berlinale was perceived a real failure, lacking in anything that one has come to expect of a festival of its size and standing. As this of course is a judgment leveled against the Competition itself, I nevertheless have to agree on the point that it was a disappointment, alright. It may be all my own fault, the choices were clearly mine to make after all. Still, I am not the only one, I know that for a fact, and maybe you could already sense as much from my short evaluations of the previous ten days.
Even taking into account that I did by no means expect this year's edition to bring anything like that truly stupefying, that singular string of revelations and masterpieces I was so lucky to see last time around, but I have certainly been hoping for more.
No, 57 just didn't live up, there simply wasn't anything brilliantly special, anything to substantially enhance my understanding of the art of film making, verging awe.

From all this I exempt the winner in my programming, whom it was very easy indeed to identify, but this one virtuously elegant period drama alone (part three in Yamada's samurai trilogy and six time Japanese Academy Award winner) just couldn't make up for what was generally a rather meager vintage. And I will have to think about the follow-ups a bit longer.
We had two Korean films with yodeling in them (sic!) and that was sure fun, although the hallyu may very well show its circuit wear and be displaying signs of abating somewhat. Maybe programmers ought to keep that in mind for next year. They definitely should turn their attention to considerably increase the level of professionalism in the films' presentation and finally begin to take their short film section serious – or else cancel it altogether, for it was a shame, really. Documentaries were strong and that's a plus.
So here is my little catalog of prizes I would like to give away if it were for me to do so:

• best film: “Bushi no ichibun/Love and Honor”, Yamada Yoji (Japan)
• best actor/actress: Kimura Takuya as Shinnojo Mimura in “Bushi no ichibun/Love and Honor” (Japan)
• best score: Plaid for “Tekkon kinkreet” (Japan)
• special mention for cinematographic originality: “Kain no matsuei/Cain's Descendant”, Kudo Risa (Japan) & “Ichijiku no kao/Faces of a Fig Tree”, Kugimiya Shinji (Japan)
• funniest movie: “Senkyo/Campaign”, Soda Kazuhiro (Japan)
• most enjoyable sex scenes: “Hu hwae ha ji An ah/No Regret”, Leesong Hee-il (South Korea)
• best last line: “From on here you see everything.” from “Tekkon kinkreet” (Japan)
• prettiest poster: “Hu hwae ha ji An ah/No Regret”, Leesong Hee-il (South Korea)

As you see, it is all Asian cinema, but let me assure you that this was only in part due to what you could possibly call my very own “preferences”, I give you that. But honestly, every film has its chance with me and quality is anything but a question of origin. Proven fact.
Most intriguing for me personally was attending the Berlinale Talent Campus (for which there cannot be praise enough and thanks to the organizers!), exchanging views about and gaining insights into ways and strategies for (co-)producing local content for international audiences or making films with friends, there was so much inspiration in fact, it certainly set me onto the tracks. However much I will forever stick to writing, and literature at that, as being my creativity's dominion and prefer it to scripting, after this Filmfestival experience I have to say that I am tempted to venture into film, almost to the point of certain resolve.
Despite (and because of) all this, I will be around again for next year's Berlinale for sure.

(pics©berlinale.de; Shochiku Kinema Kenkyû-jo)