With a total of 538 films screening at IFFR, we understand it can be quite a challenge to pick the right one. Therefore, we asked connoisseurs, tastemakers and other enthusiasts about their personal favourites. Festival programmer Gerwin Tamsma tells you which gems you can’t afford miss in the IFFR Bright Future section.
“My first tip is: let yourself be surprised! In our Bright Future section, a laundry list of great films will premiere in the coming days. Anyone who wants to see, know and feel what is what talentwise at IFFR, can simply try out every Bright Future premiere. You’ll suddenly find yourself in a screening room with the deeply felt debut Dreissig, for example, which had its world premiere on Sunday. Another German production, End of Season, comes just as highly recommended.”
DreissigSimona Kostova IFFR 2019 120′
Twenty-four hours in the lives of a group of colourful Berliners in their late twenties/early thirties, oscillating between a carefree existence and emptiness.
Twenty-four hours in the lives of a colourful group of friends in Berlin, filmed in their natural habitat of minimalist apartments, with the constant lure of the nightlife. Searching for meaning in life between everyday trials and life’s big questions. Are you reaching your sell-by date when you hit 30?
“I myself am very fond of Alva, an existential, inexorable and empathic Portuguese debut. Another personal favourite in Bright Future is from Brazil: the poetic, moving Enquanto Estamos Aqui (“While We’re Here”) from Clarissa Campolina (who previously made the beautiful Girimunho (IFFR 2012) with Helvecio Marins) and Luis Pretti, one of the major new voices in Brazilian cinema who was also responsible for Araby (Tiger candidate in 2017) and Cannibal Club (shown last year in our Rotterdämmerung programme section).”
Enquanto estamos aquiClarissa Campolina, Luiz Pretti IFFR 2019 75′
Poetic, fictionalised film diary about globalisation and migration, brought back to the essence of human micro-politics: desire, fear and hope.
Two lives cross paths in New York City: the Lebanese Lamis is a newcomer, while the Brazilian woman Wilson has been living there illegally for 10 years. Using images of New York, Brazil and Berlin, globalisation and migration is reduced from the macro-political scale to its human essence: desire, intimacy, hope and fear.
“Chinese cinema has been fascinating in the last few years. Unknown, novice filmmakers like Tang Tang, who’s here at IFFR with Walking in Darkness, prove that young Chinese directors cannot only handle daring and authentic films, but also emotional, psychological drama.”
Walking in DarknessTang Tang IFFR 2019 102′
A man’s quest for his runaway son, presented in a stylish narrative in which confusion slowly makes way for realisation.
A drunk in the back seat of a taxi, looking for his young runaway son. This is the start of Walking in Darkness, a stylish frame story with flashbacks to an unruly wedding and missing lovers, and with fragmentary editing that deliberately sets out to confuse. Right up to the oppressive, liberating conclusion.
Ico Costa on IFFR Unleashed
Photo in header: Gerwin Tamsma