Berlinale 2014

black-coal-thin-ice-still

In Competition

Yann Demange’s ’71
Dominik Graf’s Beloved Sisters
Diao Yi’nan’s Black Coal, Thin Ice
Lou Ye’s Blind Massage
Richard Linklater’s Boyhood
Karim Aïnouz’s Futuro Beach
Wes Anderson’s The Grand Budapest Hotel
Benjamin Naishtat’s History of Fear
Hans Petter Moland’s In Order of Disappearance
Feo Aladag’s Inbetween Worlds
Alain Resnais’ Life of Riley
Ning Hao’s No Man’s Land
Diettrich Brüggemann’s Stations of the Cross
Yannis Economides’ Stratos
Celine Murga’s The Third Side of the River

Out of Competition

George Clooney’s The Monuments Men
Lars von Trier’s Nymphomaniac

Panorama

A.J. Edwards’ The Better Angels
Eskil Vogt’s Blind
John Michael McDonagh’s Calvary
Alonso Ruiz Palacios’ Güeros
Sophie Fillières’ If You Don’t, I Will
Michel Gondry’s Is the Man Who Is Tall Happy?
Tsai Ming-liang’s Journey to the West
Ira Sachs’ Love Is Strange
Fruit Chan’s The Midnight After

Galas

David O. Russell’s American Hustle
Volker Schlöndorff’s Diplomacy
Hossein Amini’s The Two Faces of January

Forum

Heinz Emigholz’s The Airstrip–Decampment of Modernism, Part III
Josephine Decker’s Butter on the Latch
Davi Pretto’s Castanha
Kelvin Kyung Kun Park’s A Dream of Iron
Veiko Õunpuu’s Free Range
Ken Jacobs’ The Guests
Jean-François Caissy’s Guidelines
Denis Côté’s Joy of Man’s Desiring
Guillaume Nicloux’s The Kidnapping of Michel Houellebecq
David Zellner’s Kumiko, the Treasure Hunter
Corneliu Porumboiu’s The Second Game
Anja Marquardt’s She’s Lost Control
Josephine Decker’s Thou Wast Mild and Lovely

Forum Expanded

Margaret Honda’s Spectrum Reverse Spectrum