How to Be Normal and the Oddness of the Other World is a 2025 drama directed by Florian Pochlatko in his directorial debut. The film stars Luisa-Céline Gaffron, Elke Winkens, Cornelius Obonya, Harald Krassnitzer, and Fanny Altenburger. When a young woman, Pia (Gaffron), is released from a psychiatric hospital, she moves back in with her parents as she tries to rebuild her life and find balance.
Out of all the entries I received digital screenings for, this was somewhere towards the bottom of the list. From the image below to the concept, it didn’t sound all that interesting to begin with, but I was completely wrong. This is why I always encourage everyone to watch anything and everything as much as I do. Even if you don’t like something, I believe it still gives you something to talk about with others. I can honestly see this being mixed with viewers, but grow a deeper appreciation for over time.
To my surprise, this also has a filmmaking perspective, much like one of the other Berlinale entries, Hysteria, did. Except this time, this is a lot more meta. As someone who went to school for film and loves film, I can understand why they made this so meta. By the end of the film, you can even understand why this approach is necessary. I was in complete awe by how cinematic the film can look as we are seeing things from the main character’s perspective. She wants her life to mean something, and in doing so, she sees her life as a movie. I guess you could say she has the main character syndrome. The tone does reminds me a lot of I Saw the TV Glow. For that, I’d be very interested in seeing the reception for this one.
Luisa-Céline Gaffron is truly remarkable as Pia. She shows so much confidence through her performance. It’s clear she has a lot of trust in writer & director Florian Pochlatko. No matter what the actress & director does next, I WILL be watching. I also believe the film does an incredible job at making us care for someone where there might be a stigma of. There’s plenty of callbacks to other films as well that will make cinephile excited.
Overall, I was quite surprised by How to Be Normal and the Oddness of the Other World. If you are looking for something deep in meaning, I highly recommend you seek this one out. Luisa-Céline Gaffron is truly the beating heart of the film that is fully realized by Florian Pochlatko’s masterful direction. I have no idea when this will become more available. When this does, I’d recommend seeing it ASAP.
Written & directed by Mehmet Akif Büyükatalay, Hysteria is a German thriller. The film stars Devrim Lingnau, Aziz Çapkurt, Serkan Kaya, Nicolette Krebitz, Nazmi Kırık, and Mehdi Meskar. When a burned Quran is found on a film set, the production takes a dark turn that throws the crew into turmoil. Intern & 2nd assistant director Elif (Lingnau) is thrown into a game of accusations, lies, and secrets.
This entry of the Berlinale film festival was one of my most anticipated. The film’s events take place on a film set, which sounded intriguing for me. The main character is also in a position that I used to work in and still feel very passionate for. The film also has plenty of religious themes with a horror undertone that sounded perfect for what kind of movie I was looking for. Dark and spooky film set movie with heavy themes? Sign me up.
First off, Devrim Lingnau carries this film on her shoulders. So far, the film festival has not disappointed with giving us strong female characters. Lingnau brings so much anxiety to her performance that you feel it with her. The rest of the cast along with Lingnau is quite impressive from the way they deliver their dialogue to the way they present their fear. It also helps that filmmaker Mehmet Akif Büyükatalay uses the horror tones to explain how dangerous hysteria can be.
The film’s pacing may not be for everyone. The third act can even feel a little redundant, but it ends on a powerful note that is open-ended enough to leave us with a lasting impression. From the visuals to the tones, this is an eerie slow-burn that will get under your skin. When I think of how powerful movies can emotionally and mentally, this is the kind of movie I think of.
Overall, Hysteria was one of my most anticipated of the festival, and so far, it’s the best one. Filmmaker Mehmet Akif Büyükatalay gets their point across thematically while Devrim Lingnau and the rest of the cast deliver solid performances from start to finish. I can’t wait to see what a broader audience thinks of this one.
The Good Sister is the second film to premiere at the Berlinale film festival. The film is written by Sarah Miro Fischer & Agnes Maagaard Petersen, and directed by Fisher. The film also stars Marie Bloching, Anton Weil, Proschat Madani, Laura Balzer, and Jane Chirwa. Rose (Bloching) is close to her older brother, Sam. When a woman accuses Sam of rape, Rose is asked to testify in the investigation against him, testing both their relationship and her moral integrity.
When I initially got asked if I wanted to screen the Berlinale films ahead of time, I was hesitant at first as it was right around such a busy time for me, both personally and professionally. I knew nothing of the films nor anyone who made or starred in the film. Yet, I decided to say yes, because I love international films and they tend to really resonate with me. I am so glad that I did, because the festival is currently 2 for 2 right now.
The film takes a unique approach with its story. It’s only about 90 minutes long, and yet, the first half makes it seem like this will be a completely different story. I didn’t know anything about this going in, but with a brisk runtime, I was expecting something simple. Just when the big revelation hits, you fully realize what you are watching.
The second half does an incredible job at making you look at the first half differently. Not only does the first half set the groundwork, but it makes you revisit certain scenes that were not at all what you thought they were. It creates a very haunting experience that is quite unsettling. With only 90 minutes, I still wish we got more that could have made it intense. I am not asking for it to be exactly like Anatomy of a Fall, but the themes are there that make you question what exactly happened. I wanted more of that. I could see a much longer, detailed movie.
Nonetheless, the film is still carried by a phenomenal performance from lead actress Marie Bloching. When she is first introduced, she is already navigating a new change in her life. When the reality of her brother’s accusation hits, she has to overcome another change – one that does question who exactly she is. Bloching’s performance gives her character realism through her actions as she has to wrestle with what she does and the repercussions of it.
Just as the film was wrapping up, I really wanted it to end where it did and it did. The open-ended conclusion won’t be for everyone. I love endings like this as it makes you question what happens and your own morals. It wouldn’t have been possible without Bloching’s incredible performance and Fischer’s impeccable direction. I also have to give props to Anton Weil who played the brother, Sam. His character goes through a complete meltdown that is portrayed accurately.
Overall, I can easily see The Good Sister being widely talked about as it becomes more available. The way the film wrestles with morals will leave viewers pondering long after watching it. Marie Bloching gives a tremendous performance that makes me want to see whatever she does next, and Sarah Miro Fischer proves to be an effective director with grounded stories to tell. The pacing may not be for everyone and the short runtime may leave viewers wanting more, but what they accomplish here is commendable work.
Written & directed by Frelle Petersen, the first film of the Berlinale film festival is titled Home Sweet Home. In the film, Sophie, played by Jette Søndergaard, begins working as a career making home visits to the elderly. Soon, she confronts the harsh reality of the job. The film is a deep dive into the reality that often goes unrecognized to the public eye.
It’s quite clear that Peterson is using his technique a personal & effective story that he wants the world to better understand. While it does not have the same vibes, I would equate this to 2023’s Perfect Days. We are seeing what Sophie is going through on a daily basis. Over time, she connects and builds relationships with her patients. It makes her quite good at her job, but it can also be quite draining depending on the situation. On top of all of this, she also has to be there for her daughter as a single mother who has split custody.
I can understand where seeing foreign films where you have to rely on subtitles the whole time can be intimidating, but I always find myself connecting so much with movies made outside of the U.S. This takes a slow burn route that completely takes you through Sophie’s day-to-day life. At almost 2 hours long, it can be draining, but then again, that’s the whole point. You are supposed to feel as drained as the original character. Once again, there are similarities with Perfect Days towards the end that will get its point across.
I am also always interested in foreign films as I come across someone new. Jette Søndergaard is a star in the making. She is completely believable in this occupation as someone who physically takes care of these people, whether that be bathing them or just communicating with them. It’s an outstanding performance that shouldn’t go unrecognized.
Overall, the Berlinale is off to a strong start with Home Sweet Home. Jette Søndergaard gives an incredible, authentic performance that helps get Frelle Petersen’s message across. This is my first time covering the film festival and I already can’t wait to see what’s next.
The Gorge is a new film from director Scott Derrickson & writer Zach Dean. Viewers might be familiar with Derrickson’s work on horror films such as Sinister & The Black Phone, while viewers might be familiar with Dean’s work on films such as The Tomorrow War & Fast X. The film stars Miles Teller, Anya Taylor-Joy, and Sigourney Weaver. When two highly-trained operatives are appointed to posts in guard towards opposite side of a secretive gorge, they must work together to keep the secret in the gorge.
The concept around this film was intriguing, but I can’t say I was looking forward to it. I love the cast and I especially love Derrickson’s works. When I saw that I had the opportunity to see it early, I knew I had to see it ASAP. To be honest, I also kind of needed to see it due to the hectic week that I am having. I completely understand why Apple TV+ is releasing this on the streamer over a theater rollout. The film isn’t perfect, but this would have been so much fun to see in the theater.
The first act, which accounts for about the first hour of the film is strictly dedicated to developing the two main characters played by Miles Teller & Anya Taylor-Joy. These two have amazing chemistry together. It’s such an intriguing concept to have them separated for so long, but still see each other. That’s what makes their encounter where they truly meet each other so special. I believe some viewers may be turned away by how long this takes. Like I said, it takes about an hour to get through this. I suppose it’s fitting for the Valentine’s Day weekend that may appeal to a larger audience.
After the first act is when the film kicks into high great. There’s also a lot of intrigue and buildup to the second act that makes it all pay off. I honestly thought the film actually took place in the apocalypse. Instead, the second act feels like the apocalypse where you spend time in this new world for 45 minutes that goes on longer than what it feels like. The second act is a lot of fun. When you are familiar with Derrickson’s work, he’s able to effectively display the horror genre to this. He does a great job at blending the genres, but its during the second act is where the film shines the most. The creatures are mainly CGI, but Derrickson does a great job making them look life-like with the movie’s stars.
Then, there’s the third act that feels like it goes on longer than it needs to. It tries its best to tie itself up properly without the need of a sequel. I personally don’t think it was all necessary, especially when the film feels like it already ends at the end of the second act. It’s like “oh, we’re still going. Got it.” Look, it’s still a lot of fun that somewhat makes up for paying for the subscription service.
Those are my collected thoughts on each act, but there are both pros and cons throughout the film. The exposition and character development can be a bit awkward at times. The green screen is just about as good as what you would think for a streaming movie. The collection of different genres, while fun, can be exhausting by the end.
If you were to ask me to rewatch it, I probably would. Teller & Taylor-Joy carry the film. It’s fitting to have these characters be these two highly-trained operatives. The film has more than enough buildup that makes you care about what happens to them when things go south. The mystery is done incredibly well. This is the kind of movie you need to go 100% blind into. I can see this easily be a big hit for the streamer that may just put confidence in them again to start putting their movies back in theaters.
I am not joking when I say the music reminded me so much of Nine Inch Nails I couldn’t believe I was right when I saw that Trent Reznor & Atticus Ross composed the soundtrack. How do these guys do it? They consistently make energetic soundtracks that are fitting for the tone. They do it so much that I wouldn’t be surprised if they were doing it in their sleep.
Overall, The Gorge was a surprisingly good time even with its flaws. I loved the main duo between their amazing chemistry and dedication to the action. The film does have a little bit of everything that I think will appeal to a larger audience, but I’d be interested to see if everyone will like that. The way the film plays out will keep viewers at least inrigued by what could happen next.
Directed by Josh Ruben & written by Phillip Murphy, Christopher Landon, and Michael Kennedy, Heart Eyes follows a masked maniac with glowing, red, heart eyes who returns every Valentine’s Day to terrorize unsuspecting couples. The film stars Olivia Holt, Mason Gooding, Gigi Zumbado, Michaela Watkins, Devon Sawa, and Jordana Brewster.
I can’t say I was looking forward to a slasher anytime soon. I enjoyed them a lot more when I was a teenager, but in recent years, I have found them to be too bleak for my taste. To my surprise, this one was fun from start to finish. Due to how light-hearted and comedic it can be, I am not surprised to see where this isn’t for everyone. Coming from writer Christopher Landon as a writer, I am also not surprised by its tone. The film’s tone is what works best for the film.
Olivia Holt & Mason Gooding star in the lead roles, and I have not seen such strong chemistry between two leads in quite a while. They are so likable & charming. The casting department did a superb job putting these two together. Under Josh Ruben’s direction, he creates a foundation between the two before chaos ensues. That’s what helps us feel even more gravitated towards what happens to them. There’s a surprising amount of development between the two that may not be for anyone who wants straight up slasher, but to me, it helps it stand out amongst the rest of the slasher movies. I know what I said about slasher movies being bleak, and I did not feel this way at all.
It was refreshing to see Jordana Brewster & Devon Sawa here. Viewers might be most familiar with the two from Fast & Furious and Final Destination, respectfully. It’s nice to see Brewster have a big role outside of the popular franchise, and it’s nice to see Sawa in another horror movie. The Fast & Furious reference was also hilarious. I had that spoiled to me beforehand unfortunately, and I wish that wasn’t the case. This is the kind of movie that you need to go blind into.
As for the big twist, it’s unique, but it’s also somewhat predictable. When you go into a slasher movie wondering who the big killer is, you’re looking at everyone as a suspect. The film makes it clear with some big hints as to who it can be, but it also makes you second guess yourself, similar to how My Bloody Valentine did. It leads into a cliche third act where the villain speaks their motives before following through with their plan. I am tired of that trope where the villain has to explain everything, which gives the heroes plenty of time to overcome the villain. On the other hand, I thought it was quite fun. It felt like a homage to a lot of other 90’s slashers.
Speaking of homage, this is a film that respectfully homages other great slashers before it. There is a shot similar to The Texas Chainsaw Massacre that you may have seen in the trailer. One of the main reasons I try to avoid trailers as they spoil too much. On the other hand, I guess it’s a good way to convince people to see this. There’s also another scenes where the Heart Eyes killer is chasing Olivia Holt’s character, and the music choice reminded me a lot of Psycho. The film also acknowledges other romantic movies which can make it even more comedic and light-hearted.
There is a convenient plot hole that I know I am reading too much into. Without giving much away, the start of the film makes it clear that the killer has attacked other parts of the country. As it so happens, the same killer has attacked places that Mason Gooding has been to. First off, I have no idea how the killer made that work to set Gooding up. Second, you’d think Gooding’s character would not want to be romantically involved because of this. I honestly thought at one point it might be someone Gooding has a connection with, but that’s not the case. In the end, I think the film does a good job at explaining the motives, even if I would have liked to have seen the conception of this killer explored more.
From what I have seen, this film hasn’t been doing quite well. That seems to always be the case for any movie opening Super Bowl weekend. Maybe it will do better over Valentine’s Day weekend. If it does, I’d love to see a sequel of this that further explores the origins of the killer in other parts of the country. If not, I like how the film ends with something conclusive.
Overall, Heart Eyes exceeded my expectations to deliver something fun & unique with two charismatic leads and respectful homages to the genres. The tone may not be for everyone, but for someone who needs that, I can appreciate it even more. It’s far funnier than I could have ever imagined. I won’t be upset if a sequel ever happens, but I’m also satisfied with what we got here.
Paddington in Peru is the third installment in the Paddington franchise that started in 2014 and comes 7 years after the second entry. This entry find Paddington traveling to Peru with the Brown family to find his missing aunt. As they search for her, they soon find themselves in a greater mystery with antagonist foes trying to get in their way. The film stars High Bonneville, Emily Mortimer, Julie Walters, Jim Broadbent, Carla Tous, Olivia Colman, Antonio Banderas, and Ben Whishaw as the voice of Paddington under new direction from Dougal Wilson in his feature directorial debut.
If you know me, I am a huge fan of the first two Paddington movies. They took me completely by surprise. As much as a third one sounded appealing, I also had my reservations much like everyone else when Paul King & Sally Hawkins were not returning. Paul King directed the first two and Sally Hawkins was the heart & soul of the first two as Mary Brown who was the sole reason why Paddington has a human family. The third entry is nowhere near as good as the first two, but it’s still a solid addition in this franchise.
What director Dougal Wilson does so well is respecting the legacy of the first two films. Immediately, the film throws you back into that silly, sarcastic off-beat humor. It’s not quite as good as the first two, but it enjoyable. I could see viewers being turned off by this as it’s not the first two. I am coming at this from the perspective that there are new people involved who did the best they could, and I’d say they did an admirable job.
If things were any different, Colin Firth would have been the voice of Paddington from the get-go. It feels like everything worked out, because Ben Whishaw jumps back into the voice of Paddington like he never left. It’s impressive how he can still put in so much life in this character, especially after such a long wait for this one. His voice establishes a youthfulness to the character, all while still making him incredibly likable for viewers of all ages.
I would have liked more of Paddington’s arc in the beginning to double down on the conclusion’s themes. Without giving anything away with the conclusion, I believe the film could have started with Paddington having a sort of identity crisis. That would have made his journey even more impactful.
The film also has to deal with overcoming Sally Hawkins’ departure and having Emily Mortimer taking over her role. I am never a fan of actors replacing other iconic characters. If Hawkins could never come back, I would have been okay with the first two ending there. Hawkins brought so much soul to the first two movies, but Mortimer manages to take on the role gracefully. She has the same mannerisms that made me forget there was ever a difference. There is just one particular scene involving a flashback to when the character first met Paddington. It’s awkward, because they can’t show Hawkins. I would have been okay without this flashback.
As for the other characters, I have mixed feelings. Hugh Bonneville has one of the best stories as he has to prove that he has to be more fearless. It’s funny and entertaining, and I love how the films continue to raise the stakes for the character, yet it still feels similar to what we saw in the last entry. The film can even be redundant with Paddington having to get to his aunt. We got that with the last film. Instead, to get around Sally Hawkins’ departure, I think the film could have picked up after the last one and have Paddington and his aunt traveling to Peru. That would have been different and exciting. The middle portion also has a bit too much exposition that does feel forced to help us better understand what’s going on. Maybe that’s the film trying to overcompensate for what they lost, but it’s still entertaining nonetheless.
It’s quite clear the films don’t really know what else to do with the kids of the family anymore. Believe it or not, they are still played by the same actors of the first two. Judy Brown barely has a presence an Jonathan Brown serves more of a plot device more than anything else. It does feel like the film tries to rely on giving us what we saw before to keep within the same tone. Instead, it doesn’t give the characters the proper development that made them so compelling.
Viewers might also be mixed on the villains played by Olivia Colman & Antonio Banderas. They are both great in their roles as they embrace the insanity of their characters. It can be too much for viewers. I am not sure why the film wanted two villains as it doesn’t quite give them enough purpose for the story. Again, I still think they did a great job with what they are given.
Where I felt like the first two acts were passable, the third act not only gives us a lot of adventure, but it also gives an emotionally charged & impactful ending. Instead of going for bleak, it honors the journey that started from the first one. It reminded me why I became a fan in the first place.
Overall, Paddington in Peru was a great time through its flaws. It’s difficult to strike gold twice, but striking gold three times is nearly an impossible feat. Still, the film honors what came before to give us something that feels conclusive if they decide to end it here. If you are a fan of these characters or adventure films, I think you’ll have a good time. Just don’t expect a flawless masterpiece like the first two are.
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