Bad Luck Banging or Loony Porn (2021)
Six past winners of the Golden Bear, the Berlinale’s top prize, Zoomed in at noon, European time, to announce that they had decided to award the 2021 Golden Bear to Radu Jude’s
Bad Luck Banging or Loony Porn. In a statement read by Nadav Lapid (
Synonyms, 2019), the jury, whose other members are Ildikó Enyedi (
On Body and Soul, 2017), Adina Pintilie (
Touch Me Not, 2018), Mohammad Rasoulof (
There Is No Evil, 2020), Gianfranco Rosi (
Fire at Sea, 2016), and Jasmila Žbanić (
Grbavica, 2006), explained that Jude’s film “captures on screen the very content and essence, the mind and body, the values and the raw flesh of our present moment in time. Of this very moment of human existence.”
Denis Côté remporte un prix à la Berlinale pour Hygiène sociale
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Indigenous filmmaker Danis Goulet s Night Raiders pulls from Canada s past to create a terrifying future
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Skip to main content Vic + Flo Saw a Bear Helmer Denis Cote Drops Trailer for Berlin Encounters Title Social Hygiene (EXCLUSIVE)
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Following hard on the heels of the film’s selection for this year’s Berlin Film Festival Encounters section, director Denis Côté has shared a first trailer for his new movie “Social Hygiene,” the latest from the Canadian director who won a Silver Bear for 2013’s “Vic+Flo Saw a Bear.”
At first glance, if the trailer is anything to go by, “Social Hygiene” seems at first glance a perfect pandemic movie: characters talking much more than two meters apart in a fresh verdant Canadian countryside.
The French Canadian director Denis Villeneuve is best known for mainstream films like
Sicario,
Arrival, and
Blade Runner 2049, stylishly expressive in their harnessing of alienating terrains, notably deserts and plains. Their claustrophobic equivalent in
Polytechnique (2009), the eerily quiet 77-minute indie Villeneuve made before his 2010 breakthrough
Incendies, is a college campus and its environs during a blizzard – the brutalist architecture and freezing temperature redolent of the feelings of the lone shooter who matter-of-factly fires his semi-automatic rifle at women in a classroom, a photocopying room, and a refectory.
Initiated by actress and co-producer Karine Vanasse, Villeneuve’s film unflinchingly and meticulously re-creates the killings of 14 women and injuring of 10 women and four men by 25-year-old Marc Lépine at the engineering school École Polytechnique in Montreal on December 6, 1989. Though the three protagonists – the unnamed killer (Maxim Ga