'Home for the Weekend' Berlinale (Competition) review:

Another warmly received German competition entrant, 'Was Bleibt' - which translates literally as "what remains", but given the far sappier English title 'Home for the Weekend' - is a quietly effective examination of how one family falls apart during a routine get together. However much they lie to one another and retreat behind false jollity, each person has significant problems - be they financial, medical or of the heart.

Berlin-based writer Marko (Lars Eidinger) is struggling to spend time with his son Zowie (Egon Merten) after separating from his wife - though he makes excuses for her absence, keeping his family in the dark. Jakob (Sebastian Zimmler) puts on a superior attitude, as the responsible, attentive son, yet his dental practice - paid for by his father Gunter (Ernst Stotzner) - is on the verge of bankruptcy. A fact he doesn't even tell his wife Ella (Picco von Groote), who in turn feels disrespected and kept at a distance.

Over the weekend all of these traumas come to the fore after Marko and Jakob's manic depressive mother
Gitte (Corinna Harfouch) discloses that she has not been taking her medication for some time and has no plans to do so. The family is divided over how to proceed, fearing violent mood swings if they talk openly in front of Gitte. This exacerbates her own feelings of isolation and threatens her will to live. When she goes for an early morning drive alone and does not return the family begin to fear the worst, intensifying their internal feud and hastening the airing of grievances.

Director Hans-Christian Schmid handles this potentially sombre story a deceptive lightness of touch, the film being peppered with smile-raising moments which enliven the kitchen sink drama. As it stands it's one of the most purely watchable films of the competition here.

'Sister' Berlinale (Competition) review:

Set in the Swiss alps, 'E'enfant D'en Haut' - which carries the English title 'Sister' - is about a young boy called Simon (Kacey Mottet Klein) who escapes his grim life in a tower block by spending his days in the affluent mountain ski resort above, where he steals expensive ski equipment to sell on to local kids. Director Ursula Meier's film has a strong undercurrent of grim socio-economic reality behind it, however it's also lyrical and occasionally whimsical - as Simon strikes the pose of a flush, big-time hustler to great comic effect.

Going by the name Julian in the world above, he wears sunglasses whilst dining on fries in the restaurant, mingling casually with upper class patrons - who include serial stilted Brit impersonator Gillian Anderson. In the world below he uses money earnt from selling on stolen goods in order to support his frequently absent older sister - as played with great sensitivity by the coma-inducingly beautiful Lea Séydoux.

Beautifully filmed by Claire Denis' regular DP Agnès Godard, 'Sister' is tragic in its depiction of a situation in which a desperate child is ultimately forced to barter with his only relative for even the slightest expression of affection. Simon is a likeable kid whose one means of escape is not only criminal but destined to be short-lived: the ski season does not last forever and nor can his mischievous hijinks.

'Captive' Berlinale (Competition) review:

If this was made ten years ago 'Captive' would have felt like a shrill, pernicious little piece of reactionary Islamophobia. Coming a decade after the events of 9/11, as tempers cool, it seems all the more unnecessary and unwelcome. In it a group of middle class French tourists - headed up French star Isabelle Huppert - are abducted from their luxury Philippine resort by a group of muslim fundamentalists who seek to use them as leverage to make political demands from the government. They are ruthless to a man, bumping off any who are not worth much in ransom, beheading them and then laughing about it, firing their rifles into the air and shouting "praise be to Allah". They are cartoon villains and lack even genuine spiritual conviction.

They preach at their captives constantly, telling them about the laws of the Qur'an even as they make a mockery of them: for instance, it cuts to one man stealing a hostage's watch as the prisoners are told not to take things that don't belong to them. They also force female captives to marry them in order to have sex with virgins without offending religious tradition. The events of the film are set during 2001, so we are even shown them celebrating 9/11 to the horror of the westerners, who instantly understand the event's significance based on few details. In reality the enormity of those events needed time to sink in, even with access to the shocking images on live television.

Kidnappings such as these - as happen frequently in South America, Africa and Asia - are an interesting and frightening prospect, certainly worthy of an interesting and insightful film. Though this feels like white post-colonial panic. You could say these terrorists happen to be muslim because in the Philippines that is the reality, and that the things they do are similarly routed in a horrific truth that doesn't obey the laws of so-called "political correctness". Yet it's not that the film includes (or even highlights) the Islamic specificity of this kidnap that's offensive: it's that it dominates the movie totally, with many of the abductors' rants sounding like deliberate attempts to put Islam on trial, whilst Christian characters are shown to be charitable, respectful and unwavering the face of adversity.

'Jayne Mansfield's Car' Berlinale (Competition) review:

Set in Alabama in 1969, 'Jayne Mansfield's Car' is a blackly comic film about the failure of each successive generation to learn from the mistakes of the previous one. Here two families from different backgrounds, each with their share of war-scarred men, are brought together by a funeral: an event which basically enables an exploration of the way each character romanticises tragedy - a concept embodied by the wrecked car of ill-fated movie star Jayne Mansfield, which is a local sideshow attraction.

Withdrawn, WWI veteran and traditional southern patriarch Jim Caldwell (a note-perfect performance from Robert Duvall) is saddened when his ex-wife - and mother of his now adult children - dies after years of living in England with her second husband (and fellow Great War veteran) Kingsley Bedford (John Hurt). In spite of long-harboured feelings of bitter resentment towards the man who took his love, Jim invites the Bedford family to come and stay in his home with his children and grandchildren. These include three wildly different sons, all of whom served in WWII.

Director and writer Billy Bob Thornton takes on the role of a decorated navy pilot who finds it easier to relate to machines than people. Robert Patrick is a seemingly uptight guy, whose resents never having seen combat - yet he has subsequently been successful and is head of a nuclear family. Kevin Bacon was also decorated in the war, yet now he is a long-haired hippy protesting Vietnam in the hope that his teenage son doesn't have to go through what he did. Kingsley's son accompanies him to the US - a WWII Japanese prisoner of war. Ray Stevenson is compelling, for once not playing a fun tough guy.

Relatively free of southern clichés, the film pokes affectionate fun at the Caldwell's occasionally tacky manner (as seen by the stuffy Bedfords) without being patronising or mean about the characters. Perhaps it's a little long and unfocused, with some characters (like Frances O'Connor's likeable Camilla) disappearing for long stretches. Yet overall it's warm and fun with moments of effecting tragedy all in service of a laudable anti-war message.

'Metéora' Berlinale (Competition) review:

Folks who have no interest in arthouse cinema or festival films probably assume that they are all humourless, chin-scratching borefests like 'Metéora', a Greek film from director Spiros Stathoulopoulos. Over 82 minutes that feel far longer, it's the story of a Russian nun (Tamila Koulieva) and a Greek monk (Theo Alexander) who are doomed to live lives of quiet despair unless they consummate their forbidden love. Turns out they're in luck because, conveniently enough, "the only sin that cannot be forgiven is despair".

They repeat that word, "despair", over and over (in Greek and Russian), whenever they aren't in mournful solitude, gazing through the windows of their remote, mountaintop monasteries across the abyss that separates them physically and emotionally. A stunning setting for the well-worn theme of sexual repression and self-flagellation within the church, with Nun burning her hand in order to resist the temptation to masturbate. Monk is tempted not only by what's under Nun's garments, but also by the simple rural idyll outside the order. In fact he is so much more at home among the shepherds and such that it's hard to understand why Monk became one in the first place.

As an escapist outlet for repressed fantasies, both experience vivid dreams brought to life via crude, jerky animation and styled to replicate traditional Christian art. These segments, infused with provocative religious imagery, deserve credit for being imaginative and, aesthetically, they represent an improvement on the ultra-low quality cameras used to film the live-action stuff. There are some nice touches here and this device is a clever one.

Yet the part of the film that's destined to live longest in my memory is a scene in which a real mountain goat is cornered, captured, stabbed and skinned - a scene which feels unnecessary and cruel. I'm not a vegetarian and am under no illusions about where food comes from (however much I'd rather not think about it), but filming the grisly death of a screaming animal for the purposes of a movie just doesn't sit well with me.

'Barbara' Berlinale (Competition) review:

German-speaking elements of the crowd went nuts for 'Barbara', Christian Petzold's film about an unsmiling nurse (Nina Hoss) who desperately longs to escape communist East Germany and her no-frills, small town existence. She lives for tomorrow to the extent that she is cold to colleagues and puts very little effort into her current existence, until she meets an interesting doctor (Ronald Zehrfeld) who admires her talents and compassion for their young patients.

Frequent bursts of howling laughter lead me to conclude that the film it's a comedy, though it's apparently the sort of humour that owes much to "how" rather than "what" is said. A lot of the jokes concern the broad juxtaposition of different worlds: east and west, as well as recurring town versus countryside gags - but, again, these might be funnier if could discern German regional accents and peculiar modes of speech or if I had a grasp of the country's internal stereotypes.

I'm plainly not the ideal reviewer for this movie, which I can't see getting much distribution outside its homeland. I couldn't say with any confidence that I fully understood it. All I can safely say is that Hoss is terrific as the sardonic nurse - a complicated character whose sense of duty and compassion (and ultimate selflessness) suggest her disenchantment with the state is not as a result of apathy. I would also add that it's one of the best films in the competition so far in terms of how it's made, with several entries to date lacking the same polish.

'Childish Games' Berlinale (Competition) review:

Amid the tearful, slow-moving dramas that dominate events like these it's nice to get a change of pace, especially a few days in. Spanish horror movie 'Dictado', which translates as "dictation" (though the English language title is 'Childish Games'), is that welcome key change and a diverting addition to a so far so inert competition line-up - providing a very different atmosphere and even (whisper it) some semblance of a plot.

It's by no means perfect, taking its sweet time building up to a decent last twenty minutes, but by the time the protagonist goes predictably insane it has become tense and compelling. Written and directed by Antonio Chavarrias, the film follows primary school teacher Daniel (Juan Diego Botto) - a mild-mannered man with a horrific past. Daniel is haunted by the memory of Clara, a young girl who died tragically during a stupid game he and another boy were playing when they were children. Years later the other boy, Clara's brother, has committed suicide after claiming that he has been haunted by his sister, who has been reborn in the body of his daughter Julia (Magica Perez).

Feeling guilt for past events Daniel goes to his late friend's funeral where he meets - and is considerably freaked out by - Julia. Things get worse for Daniel when his compassionate girlfriend (Barbara Lennie) takes pity on the child and offers to become her guardian until a relative can be found. The upshot of this is that Daniel is now living with a girl he believes to be the potentially vengeful reincarnation of Clara. Is the child Clara or Julia? Is she out to get Daniel or not? After several twists and turns these questions are answered in a way which is nearly as pleasing as it is far-fetched.