Fifty Shades of Grey to Premiere at the 65th Berlin International Film Festival

Fifty Shades of Grey will premiere on February 11th on the 65th Berlin International Film Festival

Mr Grey will see his first international audiences at the Berlin Film Festival in February. As a Berlinale Special Gala, Universal and Focus Features’ highly-anticipated Fifty Shades Of Grey will be screened one-time only on February 11 with director Sam Taylor-Johnson and stars Dakota Johnson and Jamie Dornan in attendance. Also in Berlin will be author EL James, upon whose erotic mega-seller books the adaptation is based. Although it’s not a world premiere, this is the latest high-profile get for the Berlinale after it was announced last week that Terrence Malick’s Knight Of Cups will bow there in competition and Kenneth Branagh’s Cinderella will play out of competition. Berlin runs February 5-15. Just in time for Valentine’s Day, Fifty Shades Of Grey starts its international rollout on February 11 and releases Stateside on February 13.

Via: Deadline

Gillian Anderson and Jamie Dornan return in The Fall

The Fall returned and was as horribly unpleasant and brilliantly gripping as the first series.
This means we can spend between now and Christmas watching the Belfast serial killer drama battling it out with The Missing for the prestigious title of Most Nerve-Wracking Nightmare-Inducing Thriller of The Year.
Both The Missing and The Fall (BBC2’s highest-rating drama launch for eight years) are steadfastly stylish slow burners, having clearly learnt from Broadchurch and The Killing that where intense suspense is concerned, less is more.

The Missing reached the third of its eight episodes on Tuesday.
It ended with the French detective leading the investigation into the abduction of Olly Hughes, the young son of haunted, broken, British tourist Tony Hughes informing him that the police had recovered a video. He then asked one of those questions no one ever wants to hear: ‘Are you sure you want to see it?’
It was a moment of dread, with the answer being both ‘yes, obviously’ and, put it like that, ‘no, definitely not.’

We knew how he felt. We wanted our morbid curiosity to be satisfied at the same time as knowing we would recoil from whatever it showed.
So it proved.
The shaky hand-held footage showed the unmistakable, unbearable, sight of Tony’s son stood at a window as a hand was placed across his mouth and he was dragged away.
The Missing and The Fall are divided by quintessential differences but work in much the same way. (…)

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