Last year the champagne still flowed, but in 2009 angst will dominate the Berlin Film Festival. Cutbacks by studios, concerns about financing and a big-budget thriller about an evil bank — even the silver screen can’t ignore the world economic downturn.

Every movie gets the villains it deserves. Bandits attacking Indians? It’s a western. Hit men shooting police? A crime story. And when psychopaths try to achieve world domination, it’s either a terrorist drama or a film about Adolf Hitler. Those are the usual suspects.

Since the financial crisis, though, a range of unexpected villains has started parading across the screen. Werner Schulz, a politician from Germany’s Green Party, summed up the current mood a few days ago: “Now people are more afraid of their financial advisors than of al-Qaida.”

One German director seems to have anticipated this development. Tom Tykwer, known for his bank robbery fable “Run Lola Run,” will premiere his new thriller “The International” on Thursday, when it opens the 59th Berlin International Film Festival, or Berlinale. This time the bank itself is the villain.

The bank in the movie, in fact, is a criminal organization that commissions murder and homicide — a “bad bank” worse than anything from the current nightmares of the world’s finance ministers. The hero in “The International” is not a crusading protector of the public interest but British star Clive Owen (“Inside Man”).

The financial crisis will set the tone at this year’s Berlinale, the most important international film festival after Cannes. It will be the main topic of conversation at the parties and receptions, the festival’s speeches, press conferences and in the haggling over film rights and new productions.

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Worry Lines Through the Botox: Berlinale Reflects Leaner Times for Movie Business – SPIEGEL ONLINE – News – International.

Once alight with bulbs that spelled out “Armstrong,” the large steel archway above North Rampart Street, across from the venerable Donna’s Bar & Grill, was dark much of the past decade, largely rusted. Beneath it, the main gate to a park named for trumpeter Louis Armstrong had been padlocked for more than three years, save for the occasional special event. Just inside, Congo Square — where two centuries ago enslaved Africans and free people of color spent Sundays dancing and drumming to the bamboula rhythm, seeding the pulse of New Orleans jazz — had been effectively off limits. The adjacent Mahalia Jackson Theater of the Performing Arts, home to opera and ballet performances for more than 30 years, sat empty and in need of repair after taking on 14 feet of water in 2005.

It would be hard to find a more potent symbol of the tenuous state of musical life and cultural history in a city largely defined by both. But earlier this month, shortly after dusk, Mayor C. Ray Nagin flipped a switch — just a prop, it turned out, for dramatic effect — and on went the lights of the arch and the park’s streetlamps. As the Original Pin Stripe Band played “Bourbon Street Parade,” a small mock second-line parade wound its way around a bronze statue of Armstrong and over to a sparkling Mahalia Jackson Theater for a free concert, the first in a series of events spanning 10 days and a broad range of performing arts.

AP Photo/Louisiana Philharmonic Orchestra, Judi Bottoni

Louisiana Philharmonic Orchestra performing at the refurbished Mahalia Jackson Theater.

“The cultural arts of New Orleans are back bigger, better and stronger than ever before,” Mayor Nagin had said at an afternoon press conference. “This is the start of what I predict will be a year of unprecedented construction in the city.”

William Chrisman, the city’s capital-projects administrator, estimated the theater renovation’s cost at $22 million, with the park restoration adding an additional $5 million. FEMA, which initially denied funding, has pledged to reimburse $9 million. John Quirk, who oversees the federally owned National Jazz Historical Park — three leased acres within Armstrong Park — hopes to complete his renovations late this year.

The Arts Come Marching In Again – WSJ.com.

Amsterdam has three main attractions: Rembrandt in the Rijksmuseum; hookers in windows; and Anne Frank in the attic. It’s a contradictory cultural compendium in a contradictory city. You walk past the office on the canal, above and behind which are the secret rooms the Frank family silently lived in for two years; beneath it is a long, silent line of American-Jewish students waiting to get in for half an hour’s empathy. And you know that somewhere down this street or the next one is the house of the person who betrayed the Franks. Unknown, unremarked, still secret, there is a room where someone sat and thought: “After lunch, I must pop down to the Gestapo and hand in that family in the attic.” The Dutch hid 30,000 Jews, most of whom survived the war, but handed over more than 100,000, most of whom didn’t.

The English translation of Anne Frank’s diary was published here in the 1950s. It made a modest impact and went out of print. It was in America and, oddly, Japan that it became iconic. In Germany, it was regularly accused of being a forgery; too well written for an adolescent, they said. Anne did rewrite it. She wanted to be a novelist, dreamt of it being published; after the war, her father censored it to take out the critical things she had said about her mother. After he died, they went back in.

The Diary of Anne Frank, Nicholas Crane’s Britannia, Antiques Roadshow, The Antiques Rogue Show – Times Online.

Circus training unites kids of all backgrounds – Wonderful World- msnbc.com.

ST. LOUIS – When looking for a way to bring together children of different races, religions and financial means, most people might not think of juggling, tumbling and aerial acts as their “go-to” tools.

Jessica Hentoff does.

Hentoff, 53, is the executive and artistic director of a circus school run out of the City Museum in St. Louis. She brings together children who normally wouldn’t cross paths and unifies them through circus training and performances.