CrimeDramaFestivalReview Berlinale ’20 Generation: „Pompei“ boasts the pretentious porn chic of 90s jeans commercials Berlinale ’20 Generation: „Pompei“ boasts the pretentious porn chic of 90s jeans commercials Lidalost
DramaFestivalReview Berlinale ’20 Generation: More picturesque than poetic, „Chronicle of Space“ is squiggled slowness Berlinale ’20 Generation: More picturesque than poetic, „Chronicle of Space“ is squiggled slowness Lidalost
ComedyDramaFestivalReview Berlinale ’20 Wettbewerb: „The Woman who ran“ charms with characters, casual conversations & cool cat Berlinale ’20 Wettbewerb: „The Woman who ran“ charms with characters, casual conversations & cool cat Lidalost
ComedyFestivalHistoryReview Berlinale ’20 Forum: Bizarre Biopic „The Twentieth Century“ is as cool as a winter’s day in spring Berlinale ’20 Forum: Bizarre Biopic „The Twentieth Century“ is as cool as a winter’s day in spring Lidalost
DramaFestivalReview Berlinale ’20 Forum: Is „The House of Love“ up for rent? Why then the filmic flat inspection? Berlinale ’20 Forum: Is „The House of Love“ up for rent? Why then the filmic flat inspection? Lidalost
DocExperimentalFestivalReview Berlinale ’20 Panorama: „Always Amber“ is garbage grab bag of insta-pics & mobile videos pretending to be doc Berlinale ’20 Panorama: „Always Amber“ is garbage grab bag of insta-pics & mobile videos pretending to be doc Lidalost
DramaFestivalReview Berlinale ’20 Generation: „Sweet Thing“ romanticizes bitter childhood, leaving a sickening aftertaste Berlinale ’20 Generation: „Sweet Thing“ romanticizes bitter childhood, leaving a sickening aftertaste Lidalost
DramaFestivalReview Berlinale ’20 Panorama: „Sow The Wind“ roots for eco-conscious change in rural Italy Berlinale ’20 Panorama: „Sow The Wind“ roots for eco-conscious change in rural Italy Lidalost
