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The lead performances from Ann Eleonora Jorgensen and Trine Dyrholm are both tremendous. There were plenty of sniffles in the audiences for this. A woman prison-pastor befriends a female convict believed by the other inmates to have supernatural healing powers, and who appears to cure the pastor's infertility their relationship leads to a tragedy depicted with uncompromising grimness. It surely can't be long before UK audiences will be able to see this marvellous film.Īnnette K Olesen's In Your Hands is a contrived but blazingly emotional story from a Danish director, presented under the Dogme 95 banner with ultra-realist low-budget production values. Its eroticism, mystery and poignancy are captivating, and the performances are outstanding. The story of a cynical seduction that turns to grand romance, then to tragedy, is revitalised by this magnificent-looking film. Untold Scandal, by the South Korean director EJ Yong, is an exquisite reworking of Dangerous Liaisons, transplanted to 18th-century Korea. How can a director as intelligent and sophisticated as Boorman have come up with such drivel?įor my money, the best film at Berlin so far has not been in the main competition but in the Panorama international cinema sidebar.
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The movie does not scruple to use quasi-real testimony as an emotional heart-wrencher to counterpoint this soupy romance and even has a little black boy forgivingly hugging the white cop who killed his parents. Naturally, they end up in bed, thus solving South Africa's tragic racial history in one naive liberal-humanist clinch. Samuel L Jackson plays a Washington Post reporter who initially clashes angrily with a white South African liberal, played by Juliette Binoche with an Afrikaans accent that sounds like Gouda being trodden underfoot. The awful disappointment in Berlin has been John Boorman's new film Country of My Skull: a drama about the Truth and Reconciliation hearings in post-apartheid South Africa. Monster is a hot tip for the big prize here, though there are mutterings that people are confusing elaborate make-up with good acting: a case of Nicole Kidman's false nose. As with our own Harold Shipman, it can be the habitual activity of a self-justifying career criminal. Jenkins does not turn Wuornos into a feminist icon, but she interestingly shows how being a "serial killer" need not involve consciously transgressive or psychotic Hannibal Lecter-type behaviour. Her murdering starts with the shooting of a violent creep who was about to rape her after that, killing her clients simply becomes a habit. She is belligerent, angry, pathetic, but intelligent enough to realise that her predicament is partly of her own making.
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Theron turns in a terrific performance in the lead, wearing full "ugly" make-up.
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Written and directed by first-timer Patty Jenkins, it's the fictionalised account of the life of Aileen Wuornos - the itinerant prostitute who became America's first woman serial killer. Oscar nominee Charlize Theron has been another wildly popular visitor: her movie Monster is in competition.