Why Hollywood Stars Appear in More Foreign Films

This year’s competition features two of the world’s hottest and most star-studded films. Berlin Film Festival“Pruning rosebush” and “At the Sea” are the work of two filmmakers who are clearly not from Hollywood, but feature top talent from the US and UK.

“Rosebush Pruning,” a biting family satire starring Brazilian writer Karim Aïnouz that debuted Saturday, also stars Callum Turner, Riley Keough; Elle FanningJamie Bell, Lucas Gage, Tracy Letts, Pamela Anderson. Filmed in Spain, it tells the story of an American family living in isolation in Catalonia and facing its twisted dynamics.

Meanwhile, Monday’s lineup is headlined by Hungarian director Kornél Mundruzzo’s drug addiction drama ‘At the Sea.’ Oscar buzz is already swirling around the leading lady. Amy Adams. The rest of the cast is made up of other big names from the American, British and English-speaking film world: Murray Bartlett, Brett Goldstein, Chloe East, Dan Levy, Jenny Slate and Rainn Wilson. Mundruczó is no stranger to American awards shows, but his 2020 film Pieces of a Woman earned star Vanessa Kirby a Best Actress nomination. ‘At the Sea’ appears to be his most high-profile project to date.

The European Film Market features numerous popular projects featuring European directors and American stars. Examples include Quentin Dupieux’s Studiocanal-backed comedy “Full Phil,” starring Kristen Stewart and Woody Harrelson, and Ruben Ostlund’s “The Entertainment System Is Down,” starring Kirsten Dunst and Keanu Reeves, which A24 acquired early on.

The trend of big-name stars breaking away from Hollywood productions and working with international directors continues to grow, as evidenced by recent awards like Coralie Fargeat’s body horror film “The Substance” starring Demi Moore and Jacques Audiard’s crime musical “Emilia Perez” starring Zoe Saldaña and Selena Gomez. There’s also Halina Reijn’s subversive erotic drama “Babygirl,” starring Nicole Kidman, which opens in Venice in 2024.

“Hollywood actors are looking for alternatives to blockbusters and series,” said Charles Gillibert, whose Paris-based CG Cinéma company produced Stewart’s directorial debut “The Chronology of Water” and Alice Winocour’s “Couture” (starring Angelina Jolie).

“American independent films have lost momentum: they are expensive to produce and distributors willing to promote them are increasingly rare,” he says.

“In Europe, we believe that culture should be partially protected from the market because it gives writers more freedom and leads to unique works. Key actors are looking for this type of experience,” he added. “Hollywood actors have also learned how to skillfully manage their worth and earnings between commercial projects, art films (often of European origin) and brand deals to build lasting careers.”

American talent’s international outreach says ‘Rosebush Pruning’ filmmaker Aïnouz clearly feels he’s on the rise following his English-language debut, 2023’s ‘Firebrand,’ starring Jude Law and Alicia Vikander.

“I think the freedom it can bring to English-language films is attractive to actors who sometimes work in a format that is too industrial,” says Aïnouz. “Ten years ago we were invited to work with American and British films, almost like a service provider, and what’s changing now is that they’re hiring. us.”

According to Aïnouz, much of what makes working with foreign directors attractive to A-list stars is the element of risk-taking that can lead to critical acclaim and awards news. He cites Emma Stone’s long collaboration with Greek pitcher Yorgos Lanthimos as a prime example.

“Taking risks is something every actor wants to do. Every actor wants to be challenged, every actor wants to be out of his comfort zone,” he says.

Although “Rosebush Pruning” star Fanning couldn’t attend the Berlinale with the film, perhaps because she’s heading to the awards show for her most recent international collaboration, Joachim Trier’s “Sentimental Value.” For this film, the American actress was nominated for an Oscar for the first time.

Aïnouz sees this partnership as a win-win because having a star involved in his film means more people will see it. “When we say, ‘Really great ensemble, really great cast,’ we want audiences to see our film,” he says. “And I think this is a really unique time for us as writers to be collaborating with an international cast.”

This is also a phenomenon that is occurring as the political situation in the United States becomes increasingly unstable under the second administration of Donald Trump. Famous stars including George Clooney and Eva Longoria have left the United States due to concerns about politics and invasion of privacy.

“Previously, the perception was that America was a very independent and self-reliant place,” Aïnouz said. “And I think the positive side of what this has shattered is that Americans are much more curious about other places in the world, other languages, other ways of storytelling.”

The trend is mainly about dramas, but American actors are also chasing lighter material in Europe. In addition to Ostlund’s Palme d’Or winner “Triangle of Sadness” and the upcoming “The Entertainment System is Down,” Quentin Dupieux is another European director who has enlisted the likes of Kristen Stewart and Woody Harrelson for his upcoming humorous comedy “Full Phil.” he explained manifold “Like ‘Emily in Paris’ in Hell.” Dupuyeu’s producer, Hugo Selignac of Chi-Fou-Mi Productions said: “The coolest American actors” are drawn to Dupuyeu’s films because they tend to be bolder than American comedies. “When we send them Quentin’s movies, they are shocked, because American comedies these days are a bit bland.”

Nathanael Karmitz, who at MK2 Films is responsible for “At the Sea” with Riley Keough, Albert Serra’s “Out of This World” with Riley Keough, and the upcoming “Fonda” starring Mia Goth and Andrew Scott from director Justine Triet, says film history is filled with examples of “European directors who imported themselves to America and American stars who made films in France or Italy.”

What’s different today, says Karmitz, is that it’s primarily Americans who are turning to Europe – directors, producers and actors.

“We have a film industry that is naturally open to others. A regulatory system protects artists from the laws of the market and allows them to take risks, innovate and tell free and unconventional stories. This is clearly what many people are missing and what Europe is still defending for the time being,” says Karmitz, whose MK2 Films operates one of France’s leading arthouse cinema chains.

Tricia Tuttle, head of the Berlin International Film Festival, points out that these films often involve many producers from around the world, such as ‘At the Sea’, which was backed by Ukrainian producer Alexander Rodnyansky and several producers from the United States and Hungary.

“It’s an international business now and that’s really important,” she adds. “Audiences are showing an appetite for films that are adventurous, that surprise themselves, that do something different and break the mold.”