UNDER THE SKY OF DAMASCUS
*WORLD PREMIERE*
Five Women Unpack the Deeply Entrenched Misogyny in Syria in this Intimate and Affecting Documentary
Heba Khaled, alongside co-directors Talal Derki and Ali Wajeeh, gives Berlinale 73 audiences a vastly impactful and furiously personal look inside the abusive patriarchal structure of Syrian society. Systemic oppression needs a voice of truth. Khaled finds a group of women who take matters into their hands by collecting the stories of women in their community in hopes of creating an original stage production exposing generational hurt. UNDER THE SKY OF DAMASCUS is pivotal storytelling.
Inside a women’s mental hospital, residents recall their circumstances for being there. Family members dropped off most for pushing back on tradition, some for merely existing at all. Women in a cloth factory and a recycling center recall the physical abuse at the hands of their husbands, passed down to their daughters. Woman after woman, story after story, the abuse is systematic and heartbreaking.
Ari Jan‘s score heightens the feeling that this situation is a ticking time bomb. As their work progresses, the group’s members begin to dwindle. Either out of fear or blackmail, women quit the project. The film reveals that one of the crew members violated the women while filming. Heba tells the remaining members on camera after flying to Beruit. What happened next broke my heart. We watch these brave women unravel, resulting in a shocking pause in filming. Three months later, a new development knocked the wind out of me. The Play’s self-appointed director makes a decision that could undermine the project’s entire mission statement.
UNDER THE SKY OF DAMASCUS is often an emotionally crippling viewing experience. It overflows with equal parts despair and inspiration. Quite frankly, it enraged me. The film’s journey is a perfect example of the silencing of women’s experiences and how patriarchal abuse of power can consume even the best intentions. It is a dream and a prayer from one generation to the next.
Directors: Heba Khaled, Talal Derki, Ali Wajeeh
Cinematography: Raed Sandeed
Editing: Marion Tuor
Music: Ari Jan
Sound Design: Mia Joanna Koskela
Producers: Sigrid Dyekjær, Talal Derki, Heba Khaled, Beth Earl
Executive Producers: Philippe Levasseur, Romain Bessi, Jenny Raskin, Kelsey Koenig, Maiken Baird, Ruba El-Khash
Nominated for the Berlinale Documentary Film Award
BERLINALE SCREENINGS
*PREMIERE: Monday February 20, 18:30 – Cubix 9*
Tuesday February 21, 19:00 – Cubix 5
Wednesday February 22, 21:45 – Cubix 8
Friday February 24, 19:00 – Zoo Palast 2
Sunday February 26 13:00 – International
Mesmerizing closeups of body parts beading with sweat captured with static and handheld camerawork beautifully complement the conversations and place the audience inside the room. Haunting vocals during transition moments captivate the audience. Images of south Estonian matriarchs are projected on the sauna smoke as their voices recall tales from their lives. It is another stunning addition to an already visually sumptuous film.
Topics like cancer, women’s rights, body shaming, unresolved trauma, sex, and sexuality swirl freely. It is a safe space I envy. Smoke Sauna Sisterhood brings a contagious joy. There is a raw elegance I think Sundance 2023 audiences, specifically female viewers, will welcome. This film is a celebration of our complexities, highlighting the tender care we take with one another. It is revelatory to rediscover the interconnectedness of women and our shared experiences, good and bad. It is an astonishingly rewarding emotional catharsis. 
Anna Hints is an Estonian film director with a background in contemporary art and experimental folk music. Having deep roots in the distinct culture of South Estonia, Hints’ second home is in India. As an active dumpster diver, Hints’ short documentary For Tomorrow Paradise Arrives initiated public discussion and growth of new grassroot movements against food waste in Estonia.
Imagine a scenario, if you will, where the federal government controlled the entirety of the media. Ask North Korea and China’s citizens how well that works for them. Native American tribes are sovereign nations. They do not have freedom of the press. In the Sundance 2023 documentary from Rebecca Landsberry-Baker and Joe Peeler, BAD PRESS exposes the crushing actions of tribe leaders to remain in power. MVSKOKE MEDIA journalists are under attack while the Chief manipulates the Muscogee community with misinformation. Who will protect the truth?
The biggest question becomes, “What do you have to hide?” BAD PRESS is the perfect Sundance 2023 companion to watch with 
Memory preservation, emotional resonance, exploration, and exposure of truth, FANTASTIC MACHINE
The power of curated messaging in politics is something we know well. The film features a breathtaking 1993 interview with a filmmaker that changed the face of WW2 and modern-day filmmakers. In 1934, The Nazi Party hired Leni Reifenstahl to show the movement as powerful and attractive. She speaks about the entertainment factor, how a two-hour speech must be compressed to five minutes with a beginning, middle, and thrilling middle, despite the subject. As I witnessed the pride in her technical work, my mouth was agape. Juxtapose those images with the Sidney Bernstein footage from the final day of the war in 1945. Charged with proving the atrocities of war ever existed, Bernstein brings humanity, suffering, and truth. In the end, it is a product. In most cases, it is void of morality.
Maximilien Van Aertryck narrates with a profound statement: “A lack of perspective can distort what the world looks like.” There is such a fine line between propaganda and truth. We are all too familiar with this tactic. The results of media manipulation are monumentally dangerous but immensely lucrative. Instagram is rewiring young brains in a similar manner fashion magazines impacted our self-esteem in the 90s. It, quite literally, changes brain chemistry. The editing from Mikel Cee Karlsson and writer-directors Axel Danielson and Maximilien Van Aertryck is award-worthy. As the saying goes, they understood the assignment.
The editing combined with the score creates a charming and deeply affecting quality. Confessional diary logs place us in Ella’s headspace. She uses home videos and sit-down chats with her Mum and Dad about what it was like to raise her. Seeking specialists and families with the same disability offers Ella more questions than answers. We follow Ella through an unexpected pregnancy. Her gorgeous son River and the Covid 19 pandemic change how she views potential surgery options. As she speaks to others via Zoom, she contemplates the appreciation of her body. 
The discussion of ableism is paramount to understanding Ella’s life and any family with a differently abled member. I am the mother of a seven-year-old son with Autism Spectrum Disorder. I suspect that with his off-the-charts cognitive abilities, the more precise diagnosis is Aspergers. I appreciated Ella and her best friend Naomi’s honest discussions about her autism and the challenges of an invisible disability. Each admits they cannot fully understand the inner workings of one another’s feelings and worry they have inadvertently said horrible things to one another. Understanding the staring, judgment, and how it pierces the heart cannot be ignored. That is also why the conversations with Ella’s parents resonated with me. Like Ella seeking someone to connect to, her Mum and Dad were touchstones for me. 
IS THERE ANYBODY OUT THERE? tackles outdated stereotypes and deep-seated trauma, but also optimism. I hope Ella Glendining understands the gravity of her film. I have to thank her for sharing her life, and I look forward to sharing her story with my son when he is a bit older. IS THERE ANYBODY OUT THERE? celebrates individualism and isn’t that the ultimate goal?
The competition does not occur annually, making it all the more exclusive. Here is how it works: Stage One: 87 participants, Stage Two: 46, Stage Three: 23, Stage Four: 12. The film bounces from the competition to our pianists’ hometowns before competing. A peek beyond the bench, we witness rehearsals, family life, and personal confessions.
An undeniably shocking level of emotional investment comes with experiencing PIANOFORTE. The amount of pressure is unimaginable. The film’s final edit is a masterpiece. Undoubtedly, the audience may suddenly find themselves unexpected piano enthusiasts.
As a self-professed Gleek, the series contains so much information I didn’t know. Safety issues, money, and around-the-clock nonstop work, from the mouths of friends, crew members, and entertainment reporters, The Price of Glee pulls the curtain back on all the behind-the-scenes drama and addresses the all too familiar internet rumor that the show may be cursed. Episode one concludes with Cory Monteith’s death and ends on a cliffhanger. Episode two picks right back up where we left off, focusing mainly on the aftermath of Monteith’s passing. Delving into Mark Salling’s child pornography conviction and subsequent suicide, this episode melds into the third with Naya Rivera‘s father speaking about her tragic death.
Transitions between conversations feature video clips and cast photos. My main gripe with episodes two and three is the repetition of said images. A show that spanned six seasons deserved fresh photos. It was a glaring amateur mistake. Is THE PRICE OF GLEE a touch like an E! True Hollywood Story? Very much so, but as a fan, I was endlessly intrigued, hoping for any new information. While the cast has come forward to say they were not involved, hearing crew members that genuinely cared for them and with (mostly) kind words, their insight is vital to understanding the immense pressure this phenomenon created.
The 6-month journey from Earth to Mars captured the most intense solar flares ever experienced in all space exploration, forcing the team to reboot both rovers. Angela Bassett’s voice gently narrates Spirit and Opportunity’s actions. The CGI simulations of Spirit and Opportunity are breathtaking. I’ve never seen anything like them. The footage from inside the labs and control room, combined with the tense sci-fi-inspired score, keep you on the edge of your seat. You find yourself cheering, holding your breath, tearing up, and singing along to the mission-curated soundtrack. 
If the mystery of space intrigues you, if you’ve ever looked up at the night sky and wondered if we were alone in the universe, GOOD NIGHT OPPY is a film tailor-made for your imagination. It’s a shame The Academy overlooked such a crowd-pleaser. If there ever was a more appropriate “To infinity and beyond” moment in documentary filmmaking, I sure as hell can’t think of one.
The insights into Caro’s work process are breathtaking. One moment, in particular, stands out: while working on one of the volumes focused on the life of Lyndon Johnson, Caro had the opportunity to interview Johnson’s younger brother, Sam Houston Johnson. A tremendous opportunity, but Caro found he wasn’t getting the level of rich detail he craved. So, he brings Sam back into his childhood kitchen and has him sit in the very chair he sat in as a young boy. Caro sits behind him so that everything appears just as it would be in Sam’s memories. It is only then that Caro asks his questions again. Talk about literal background research. 
Turn Every Page offers a peek behind the curtain of a complex and critical industry. Ironically, what it offers very little of is the dynamic between its two titular protagonists. Aside from one scene, they never interact on camera. Despite director Lizzie Gottlieb’s best efforts, this cannot help but feel a bit like a missed opportunity. In this framing, both men are free to lay their own narratives. It would have been a pleasure to see them challenged to edit one another’s perspectives.
“Ryan” takes an emotionally invested approach as JK’s publicist. He speaks in disguise, understanding the sensitive nature of everything he is about to reveal. Since Ryan has a sister with a painful genetic disease, his interest lies in protecting the children and JK’s bold innovation. Politics, science, government regulations, and public opinion clash as JK’s work is exposed before publication. The Chinese government rescinds its promise of protection.
Director Jordyn Romero bonded with Sanu over their love of surfing, a predominantly male-dominated sport. Sanu’s fearless pursuit of wanting to become the first female surf instructor from Sri Lanka lies beyond the horizon. In Sanu’s words, “We Are Like Waves. You cannot stop us.” This simple act of rebellion is certain to have a ripple effect. Romero brings audiences a relatable story told with grace. Boasting a beautifully encompassing score, WE ARE LIKE WAVES sees Romero and Sanu carve a path for the next generation.
Yale University’s meticulous record-keeping in the Sterling library proves invaluable. After scanning 60, 000 pages in the microform media room, the aha moment appears; a 1959 letter between 
Kimi’s traumatic childhood and Russia’s national political upheaval created the perfect ticking time bomb of existence. He and Marusya needed each other to stay alive, but unresolved trauma is a killer lying in wait. Through marriage, rehab, divorce, and Kimi on a headlong downward spiral, Marusya must find other ways to dull the inner chaos. She had to decide, make a plan to live, or join her innumerable friends in suicide.
The systemic failure at Fort Hood will leave you seething. After two months of desperate outcry, the Army finally makes a statement and begins to search, but it is too little too late. With the pro bono help of maverick lawyer Natalie Khawam, The Guillen family takes their fight to Capital Hill. 
I remember this story. I remember feeling so angry when I heard how long Vanessa had been missing before I heard about it on the news. Then, when the details emerged of her murder and subsequent failure at Fort Hood, I was disgusted. Those feelings returned and multiplied as I watched this film. Understanding the extent of their coverup will blow your mind. The military justice system allows for secrecy and discretion to sweep everything under the rug. It is beyond broken.
The doc also discusses Mainstream Mickey and counterculture Mickey and how his image became synonymous with cultural change through the years. They touch upon copyright infringement and the complexities that grew out of Walt’s loss of Oswald the Rabbit. Filmmakers and interviewees do not shy away from the negative stereotypes appearing in certain cartoons and how Mickey became a corporate symbol. It’s an honest take. 
I was lucky enough to have been a performer at Disneyland in 2000. For the insiders, I’ll say I had the magical title of “pageant helper,” which carries more weight than it suggests. I thought perhaps working at the parks would kill a little bit of the joy, as technically, I had peeked behind the curtain, quite literally. Nothing could be further from the truth. Anytime I stepped onto the grounds out from backstage (the areas no guest ever sees), I would be a giant kid all over again. On one unforgettable day, I had the unprecedented honor of meeting the actor Walt hired to wear the first Mickey costume on Disneyland’s opening day. There I am, a sweaty mess, in half a costume smiling like a fangirl. It was a part of history most people would never get to touch. 
Visually, Mickey: The Story of a Mouse is a cinematic dream. From hand-drawn frame-by-frame cell animation to chemist-mixed paint to the collaborations we see today as animation and technology shift by the day. We experience the sheer artistry involved in Mickey as animators recreate some of his most iconic roles throughout history. In a sort of meta moment, these creators work on the newest Mickey short, “Mickey In A Minute,” during the doc, one hand-drawn scene at a time. The final product is Disney perfection. 
The intimate nature of Bad Axe is visceral. The Siev family could be anyone’s neighbors. They are friendly, hardworking, and respectful members of their community. They bug each other as much as they love each other. They remind me of my holidays when all four siblings invade our childhood home with inside jokes, arguments, and an unconditional adoration for one another. 
Home videos, Tess’ narration, and Liv’s diary entries comprise a narrative that looks and sounds like so many young people. The doc plays out in two distinct halves; before and after. My Sister Liv begins with Tess telling the audience Liv’s story. The second is Tess and their mother’s emotional devastation and how the pandemic rolled into their already heavy grief, with videos of Liv replaced by videos of Tess. Then zoom discussions of Tess speaking with young people Liv’s age and mental health professionals, expressing similar feelings, coping mechanisms, causes, and statistics. 
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