Ioncinema

No Salgas (Don’t Come Out) | 2026 Berlin Intl. Film Festival Review

No Salgas (Don’t Come Out) | 2026 Berlin Intl. Film Festival Review

No Salgas (Don’t Come Out) | 2026 Berlin Intl. Film Festival Review

It Doesn’t Follow: Linares Villegas’ Queer Horror Forgets the Fright Factor

Victoria Linares Villegas Don't Come Out No Salgas

Horror has long been a safe space to explore queer stories; from cult classics Jennifer’s Body and Ginger Snaps to horror villains found in The Babadook and the androgynous gender fluid figure Pinhead from Hellraiser. Dominican filmmaker Victoria Linares Villegas ambitiously threads themes of closeted homosexuality into a horror framework in her debut feature Don’t Come Out (No Salgas). Invoking a homophobic killer as both threat and metaphor, despite its conceptual promise, the film struggles to generate genuine scares, fully realized characters, or a narrative pulse strong enough to sustain tension.… Read the rest

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The Loneliest Man in Town | 2026 Berlin Intl. Film Festival Review

The Loneliest Man in Town | 2026 Berlin Intl. Film Festival Review

The Loneliest Man in Town | 2026 Berlin Intl. Film Festival Review

Perfect Blue: Covi & Frimmel Marinate in Memories

“Everything changing all the time. Even the air you breathing change,” notes a character in August Wilson’s classic play Ma Rainey’s Black Bottom (1984), which encapsulates the essence of The Loneliest Man in Town, the latest documentary feature from directors Tizza Covi and Rainer Frimmel. Unlike like their last title, Vera, which featured actor Vera Gemma as a version of herself while also navigating a fictionalized narrative, this is more aligned with their past catalogue, such as Mister Universo (2016), following a central subject’s experiences (and enhanced by a source novel penned by Covi).… Read the rest

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17 | 2026 Berlin Intl. Film Festival Review

17 | 2026 Berlin Intl. Film Festival Review

17 | 2026 Berlin Intl. Film Festival Review

This Makes Two of Us: Mitić Explores Binding Connection of Trauma & Silence

Adolescence is once again cinematically explored as a breaking point between innocence and forced adulthood, and North Macedonia filmmaker Kosara Mitić‘s debut feature tackles this with blunt-force assault realism. Working within the confines of personal, and then shared psychological trauma, 17 visits the cycle of shame, the unseen, the unsaid and the long-game silence with an intense ground-level Dardenne Bros. type immediacy. Conceptually built with inspired by a real-life event curiosity and without sensationalism, while this suffocating, bleak Euro drama tends to feel contained and repetitive narratively, what it does best is present a rare form of female solidarity through violence.… Read the rest

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Home Stories | 2026 Berlin Intl. Film Festival Review

Home Stories | 2026 Berlin Intl. Film Festival Review

Home Stories | 2026 Berlin Intl. Film Festival Review

The Unbearable Likeness of Being: Trobisch Mines Banality in Family Drama

Each unhappy family is unhappy in its own way…and sometimes those unhappy ways are boring. Such is the case with Home Stories (Etwas ganz Besonderes), the third directorial effort from Eva Trobisch, a film which the English language title already indicates as quite nondescript in an effort to encapsulate what it’s actually about. The original German language title, translates to ‘Something Very Special,’ which in actuality is more apt in capturing how innocuously twee Trobisch’s screenplay tends to be as it focuses loosely on three different narrative strands affecting one particularly bland family in Greiz.… Read the rest

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Light Pillar | 2026 Berlin Intl. Film Festival Review

Light Pillar | 2026 Berlin Intl. Film Festival Review

Light Pillar | 2026 Berlin Intl. Film Festival Review

Capitalism & The Cosmos: Jinwei Ambitiously Explores China’s Future with a Stark Warning For Its Present

Zao Xu's Light Pillar 寒夜灯柱Long have Chinese filmmakers used the medium of film to address China’s growing industrialisation and embrace of capitalism. Modern master Jia Zhangke comes to mind as an inspiration but few have tried something quite as unique as with Light Pillar. For his debut animated feature, Xu Zao (also known as Xu Jingwei) has crafted a sometimes baffling, visually daring dreamscape grounded in reality with genuinely unique formal decisions. The animation is pushed to its limits as he weaves live-action performers into its zany, eclectic world — though not in any way you’ve seen before.… Read the rest

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Flies (Moscas) | 2026 Berlin Intl. Film Festival Review

Flies (Moscas) | 2026 Berlin Intl. Film Festival Review

Flies (Moscas) | 2026 Berlin Intl. Film Festival Review

All the Small Things: Eimbcke Explores the Pleasures of Disruption

The titular insects of Fernando Eimbcke’s latest feature, Flies (Moscas), metaphorically represent an unwanted, aggravating presence. But sometimes, these are elements which force us to snap out of stagnation and ennui, as is the case with the somewhat cold, and initially closed off Olga, an older woman who’s resigned herself to a sort of social oblivion in modern day Mexico City. Shot in black and white by DP Maria Secco, the Mexican metropolis is reduced to gray, dismal stretches of a sprawling apartment block, which visually feels more akin to East Berlin.… Read the rest

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Wolfram | 2026 Berlin Intl. Film Festival Review

Wolfram | 2026 Berlin Intl. Film Festival Review

Wolfram | 2026 Berlin Intl. Film Festival Review

The Torn Birds: Thornton Returns to Brutality of the Australian Frontier

warwick-thornton-wolfram-reviewThe sovereignty of Australia was never officially ceded by its First Nations peoples, succinctly stated in the 1980s slogan “Always Was, Always Will Be Aboriginal Land,” coined in the land rights movement intended to reaffirm their stance as the continent’s original inhabitants. As custodians of their own cinematic stories, there are still very few Aboriginal Australian directors, but prominent among them is Warwick Thornton, who returns to darker days with his latest period piece, Wolfram. It’s a spiritual follow-up to his earlier 2017 title Sweet Country (read review), working once again with screenwriters Steven McGregor and David Tranter.… Read the rest

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My Wife Cries | 2026 Berlin Intl. Film Festival Review

My Wife Cries | 2026 Berlin Intl. Film Festival Review

My Wife Cries | 2026 Berlin Intl. Film Festival Review

Where Did Our Love Go?: Schanalec Deconstructs the Break-Up Drama

True to form, or rather, anti-form, Angela Schanelec’s latest exercise, My Wife Cries (Meine Frau weint), aims to defy the naturalistic approach to her theme and subject. This time around, a vaguely related collection of characters united metaphorically by a construction site find Mercury is in full-swing Retrograde as relates to their thinly defined relationships. To exemplify this, they all talk about it. A lot. A key figure of the New Berlin school filmmakers, who actively embrace anti-naturalism in their approaches, Schanelec’s film’s often excel with this approach, usually assisted by limited dialogue.… Read the rest

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Queen at Sea | 2026 Berlin Intl. Film Festival Review

Queen at Sea | 2026 Berlin Intl. Film Festival Review

Queen at Sea | 2026 Berlin Intl. Film Festival Review

(Get) Away From Her: Hammer Returns with Elder Ethical Dilemma

It’s been nearly twenty years since Lance Hammer’s 2008 debut Ballast announced a major new talent in American indie cinema and his sophomore effort has been highly anticipated ever since. He steps outside of the US for the unveiling of his sophomore feature Queen at Sea, headlined by iconic Euro actors Juliette Binoche and Tom Courtenay. Hammer remains fascinated with the ripple effects between lives connected to a specific event, and the heart of the matter here is a provocative one. A daughter, concerned with her mother’s ability to consent to sex reports her step-father’s activities to the police, dramatically shifting the already tenuous arrangements in place.… Read the rest

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Trial of Hein (Der Heimatlose) | 2026 Berlin Intl. Film Festival Review

Trial of Hein (Der Heimatlose) | 2026 Berlin Intl. Film Festival Review

Trial of Hein (Der Heimatlose) | 2026 Berlin Intl. Film Festival Review

Far From Home: Stänicke’s Direction Leaves the Audience Marooned

How does one define their own home? Is it the place we were born? The place we grew up? Or a more abstract attribute like sexuality, self-acceptance or maybe even a hobby? In Kai Stänicke’s feature debut we focus on Hein (Paul Boche) returning to a tiny German island community 14 years after leaving for the mainland. The only problem is he appears to have physically changed quite a bit and no one seems to be wholly certain this is the young boy that left all those years ago. The village decides the best way to solve the issue of allowing Hein to return is a trial in order for him to prove himself to truly be Hein.… Read the rest

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