Berlin International Film Festival (Berlinale)

Kristen Stewart’s jury awarded the Golden Bear to the French documentary ‘On the Adamant’, about a floating psychiatric hospital on the Seine.

Todd Field’s Tár supplement provides compelling extra notes to his masterfully composed film.

Painter-filmmaker Liu Jian’s third animated feature (his second in Berlin competition) lacks the bite to capture the painful realities faced by Chinese art school students as their country opened up to the West and capitalist ideals.

Passages is a steamy, sensitive, and surprisingly funny look at the complications of modern love.

This companion to Bad Living is a repetitive exploration of deceitful mothers and toxic families that offers no new insights.

La historia de sobre un niño de 8 años que siente una creciente desesperación de ser percibido como masculino es extraordinaria por su sensibilidad y percepción. Será un parámetro en la discusión fílmica sobre género, sexualidad e identidad.

South Korean auteur Hong Sang-soo teases all the humour and melancholy out of his young cast in a comedy of awkward manners, bowing in the Berlin sidebar Encounters.

Extraordinary for its sensitivity and perception, Estibollz Urresolo Sologuren’s story of an 8-year-old girl’s growing discomfort with being perceived as a boy is a landmark in the filmic discussion of gender, sexuality and identity.

Japanese director Yui Kiyohara’s second feature combines delicate human drama, mesmerising imagery and a reflection on personal and social history.

Kazuyoshi Kumakiri’s silly single location thriller is too straight-faced to be any fun.

Vlad Petri’s visually captivating yet structurally slippery found-footage film reflects on the suppression faced by young, idealistic Romanian and Iranian women under self-avowed “revolutionary” regimes.

Sydney Sweeney shines in Tina Satter’s captivating, word-for-word account of Reality Winner’s FBI interrogation