Berlin – A wave of established American and British actors are increasingly drawn to projects helmed by international directors, a trend highlighted by the premieres of Karim Aïnouz’s “Rosebush Pruning” and Kornél Mundruczó’s “At the Sea” at the 76th Berlin International Film Festival this week.
“Rosebush Pruning,” which debuted Saturday, features a cast including Callum Turner, Riley Keough, Elle Fanning, Jamie Bell, Tracy Letts, and Pamela Anderson. The film, a satirical tragicomedy thriller, follows an American family grappling with isolation and wealth in Spain, and is loosely based on Marco Bellocchio’s 1965 film, “Fists in the Pocket.” Aïnouz, known for his contributions to queer cinema and dramas like “The Invisible Life of Eurídice Gusmão,” described making the film as venturing into uncharted territory, particularly as he considered it might be his last during the COVID-19 pandemic.
Monday’s premiere of “At the Sea,” a drama focusing on drug addiction, stars Amy Adams alongside Murray Bartlett, Brett Goldstein, Chloe East, Dan Levy, Jenny Slate, and Rainn Wilson. The film is directed by Hungarian filmmaker Kornél Mundruczó, whose previous work, “Pieces of a Woman,” earned Vanessa Kirby a best actress Oscar nomination in 2020.
This movement of talent towards international productions extends beyond the Berlinale. Projects like Quentin Dupieux’s comedy “Full Phil,” starring Kristen Stewart and Woody Harrelson, and Ruben Östlund’s “The Entertainment System Is Down,” featuring Kirsten Dunst and Keanu Reeves, demonstrate a broader pattern. A24 acquired Östlund’s film early in its development.
According to Charles Gillibert, of Paris-based CG Cinéma, the shift is driven by a desire for alternatives to Hollywood’s blockbuster-driven landscape. “American independent cinema has lost its momentum. It is expensive to produce and ambitious distributors willing to market it are becoming increasingly rare,” he said. He added that European film industries offer a degree of cultural protection that fosters artistic freedom.
Aïnouz noted a change in the dynamic between American and international filmmakers. “A decade ago, we were invited to collaborate with American and English cinema as almost like service providers. And I think what’s changing now is they’re hiring us,” he stated. He pointed to Emma Stone’s frequent collaborations with Greek director Yorgos Lanthimos as an example of the appeal of risk-taking and creative challenges.
The trend is also linked to political concerns. Reports indicate that some high-profile figures, including George Clooney and Eva Longoria, have left the United States, citing concerns about the political climate and privacy. Aïnouz suggested that the perceived insularity of America is diminishing, leading to greater curiosity about other cultures and storytelling traditions.
European directors are also actively seeking American talent. Dupieux’s producer, Hugo Selignac, noted that “the coolest American actors” are drawn to his films since they offer a level of daring often absent in American comedies. He described Dupieux’s upcoming film as an “‘Emily in Paris’ in hell.’”
Nathanael Karmitz, of MK2 Films, highlighted the European film industry’s regulatory system, which protects artists from market forces and encourages innovation. “We have a film industry that is naturally open to others…What we have is clearly what many people are missing and what Europe still defends for the time being,” he said.
Berlinale chief Tricia Tuttle emphasized the increasingly international nature of film production, with multiple producers often involved from various countries. “Audiences are showing an appetite for films that are adventurous, that surprise them and do something different and break out of the mold,” she stated.