How did the charismatic entrepreneur and media darling, Waleed Ahmed, known as “Norway’s Mark Zuckerberg” end up being arrested by the FBI and sentenced to 11 years in prison? This stranger than fiction true story echoing “Catch Me If You Can” chronicles the startling rise and fall of a Norwegian entrepreneur of Pakistani descent who took the international business world (and some royalty) by storm before it all turned out to be a bluff and he earned himself the new mantle of “Justin Bieber Concert Fraudster.”

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On a seemingly ordinary night in Paris, Pierre takes one last look at his lover Paul’s sleeping body, then steals away into the early morning light. Where he’s headed neither of them know. Pierre’s only guide is the Grindr app, which leads him on a series of encounters with an indelible cast of characters across the French countryside. Paul sets out after him, using his own phone to track Pierre’s movements in a strange and wonderful game of Grindr cat-and-mouse.

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François Reichenbach follows a group of young men from the day they enlist in the US Marine Corps, all the way through basic training. Filmed around the time of the Ribbon Creek incident, which saw the drowning death of six Parris Island recruits on a night-time forced march, this original version of the film was suppressed by the US military, which demanded changes to Reichenbach’s anti-militarist commentary.

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A slice-of-life film shot in a provincial cafe and hotel in the city of Bethune in the department of Pas-de-Calais, in Northern France. Older men smoke, drink beer and read the paper, young lovers gaze into each other’s eyes, and regulars play cards, while the owner blusters on the phone with potential banquet customers. Meanwhile, from behind the counter, the quiet woman who does the work of ensuring the place runs smoothly keeps watch—and occasionally sneaks a glance at the newspaper herself.

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IN MEMORY OF ROCK captures the power, promise, and fear generated by the early days of rock n’roll. It is also a fascinating study in the juxtaposition of image and music. Outside an arena, a crowd of young people gather for a concert, the camera lingering on them as we hear a Boccherini minuet. Inside, rising French rock stars Eddy Mitchell, Vince Taylor and Johnny Hallyday gyrate in leather jackets and cowboy boots to pounding drumbeats. Meanwhile, the floor in front of the stage turns into a proto-mosh pit (complete with injury), while the police perpetrate violence of their own.

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A filmmaker seeks to document his father’s life in Nigeria. A secret about his father is uncovered by chance: a second family kept hidden for thirty years. This revelation sends the filmmaker on a new quest, now focusing on his retired Danish mother and his newly acquainted younger Nigerian half-brother. Part of the Berlinale’s 2021 Perspektive Deutsches Kino section, the film is a generation-spanning love story that sensitively works its way through the conflicts of an African-European marriage.

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In a culture long enamored with days of glory, the darker side of American history has often been dismissed, if not outright denied. Throughout the South, vast numbers of African-American gravesites and burial grounds for enslaved persons have been lost to neglect. Those with personal connections to these sites have recently begun to unravel these untold stories of the past.

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The incredible story of Monika Krause, a former East German citizen, who fell in love with a Cuban captain and followed him to the Caribbean, eventually becoming Fidel Castro’s Sexual Education Minister. Twenty years later, Krause set the Cuban sexual revolution in motion: in favor of a woman’s right to sexual fulfillment and legal abortion, and against the exclusion of the LGBTQ population.

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