Berlinale Through the Eyes of a Bangladeshi Film Critic
This year, I was honored to serve as a film critic jury member in a country with a rich and globally renowned cinematic history. The festival I attended is also among the most prestigious in the world. I am speaking of Germany and the Berlin International Film Festival, also known as Berlinale.
During the silent film era, German Expressionism gained worldwide fame. Films like The Cabinet of Dr. Caligari (1920) by Robert Wiene, Nosferatu (1922) by F.W. Murnau, and Metropolis (1927) by Fritz Lang left an indelible mark on cinema history. These films, with their distinctive set designs, dramatic lighting, and psychological depth, introduced audiences to a unique style that distinguished German cinema. Consequently, German filmmakers earned a special place in the global film landscape.
However, the 1930s and 1940s were a challenging time for German filmmakers, artists, and actors. During Hitler’s regime, directors like Fritz Lang, Billy Wilder, and Marlene Dietrich were forced to leave Deutschland and seek refuge in Hollywood. In their absence, German cinema was transformed into a propaganda tool, exemplified by Leni Riefenstahl’s Triumph of the Will (1935).
After World War II, a new wave of German cinema emerged, breaking away from traditional narratives. Visionary filmmakers like Rainer Werner Fassbinder, Werner Herzog, and Wim Wenders pioneered a new cinematic language and gained international recognition. In the 21st century, German cinema has continued to thrive, with notable directors such as Tom Tykwer (Run Lola Run, Lola rennt), Florian Henckel von Donnersmarck (The Lives of Others, Das Leben der Anderen), and Maren Ade (Toni Erdmann).
The 75th Berlinale opened with Tom Tykwer’s latest film, The Light (Das Licht). Since the release of Run Lola Run in 1998, Tykwer has been widely acclaimed. I, too, was captivated by the new film, particularly by how he presented 20 minutes in three parallel narratives—an experimental approach that was quite rare at the time. The Berlinale, starting with a Tykwer film this year, made every effort to uphold its reputation. Beyond inviting and honoring global celebrities, the festival also showcased the latest works of several renowned directors.
Established in 1951 during the Cold War, Berlinale began in West Germany with a strong anti-war sentiment. The inaugural edition opened with Alfred Hitchcock’s Rebecca (1940). Before 1978, the festival was held in June, but that year, it was moved to February to align with Cannes and Venice and better integrate European film markets. After the fall of the Berlin Wall, Berlinale became increasingly international and influential within Europe. Today, it is regarded as one of the world’s premier film festivals.
As a FIPRESCI jury member, I was honored to be part of this milestone 75th edition. I watched a total of 22 films, 14 of which were from the Perspectives section, where I served as a critic jury member. This section focuses on debut feature films by emerging and promising directors. My co-jurors and I found ourselves in a dilemma—there were so many outstanding films that it was difficult to decide which ones to highlight.
Many directors who later gained global fame had their debut films premiered at Berlinale. Jean-Luc Godard’s Breathless (À bout de souffle, 1960) won the Silver Bear for Best Director. Werner Herzog’s Signs of Life (1968) earned him the Extraordinary Prize. In 1988, Zhang Yimou won the Golden Bear for his debut feature [Red Sorghum (Hong gaoliang)]. Watching debut films at Berlinale means not only that you’re experiencing fresh cinematic perspectives but also witnessing the potential rise of future great filmmakers. Since most directors attend the festival with their first films, it also provides a rare opportunity to have direct conversations with them.
Filmmakers pour their heart and soul into their first projects, making the Perspectives section a particularly engaging experience. Broadly categorized, the films in this section addressed political themes, gender issues, social concerns, and psychological narratives.
Constanze Klaue’s Punching the World (Mit der Faust in die Welt schlagen) and BLKNWS: Terms and Conditions by Kahlil Joseph were highly political films. The division and unity within Germany’s historical context were explored in Punching the World, while BLKNWS tackled racism and white supremacy. Though The Settlement (Al mosta’mera) by Mohamed Rashad did not explicitly present a political stance, it subtly conveyed the exploitation of workers by the bourgeoisie.
Little Trouble Girls (Kaj ti je declica) by Urška Djukić portrayed a young girl’s transition into womanhood through spirituality and physical changes, while That Summer in Paris (Le rendez-vous de l’été) by Valentine Cadic followed a young woman’s journey toward independence and her quest for love. Tanushree Das’s Shadowbox (Baksho Bondi) presented a woman’s struggle with a mentally ill husband and her challenges as a mother to a growing son.
The Devil Smokes [El Diablo Fuma (y guarda las cabezas de los cerillos quemados en la misma caja)] by Ernesto Martínez Bucio depicted parents who failed to take responsibility for their five children, while We Believe You (On vous croit) by Charlotte Devillers followed a mother’s determination to fight against her children’s father. Both films carried strong social messages. Growing Down (Minden Rendben) by Bálint Dániel Sós explored the psychological dynamics between a father and son, particularly when another woman enters their lives following the mother’s death. In contrast, Two Times João Liberada directed by Paula Tomás Marques examined the life of a transgender actor, highlighting the struggles they face in both their professional and personal spheres.
Mad Bills to Pay (or Destiny, dile que no soy malo) by Joel Alfonso Vargas portrayed a family’s desperate efforts to achieve financial stability while exploring deep love and responsibility themes. Florian Pochlatko’s How to Be Normal and the Oddness of the Other World made the strongest social commentary, illustrating how societal pressures prevent individuals from living authentically. Meanwhile, Eel (Hé mán) by Chu Chun-Teng emphasized humanity’s responsibility toward nature, and Liryc Dela Cruz’s Where the Night Stands Still (Come la notte) delved into history and the fragile psyche of expatriates.
Aside from the 14 films in the Perspectives section, I also watched Ari, Girls on Wire, and Hot Milk from the Competition section. On the festival’s final day, after the awards ceremony, I watched Dreams (Sex Love), which won the Golden Bear. It truly deserved the honor. In comparison to the Competition section, I found the Forum section more experimental, showcasing filmmakers who had already established a distinct cinematic voice. I watched The Trio Hall, Minimals in the Titanic World, and Fwends from this section. While the first two films had their shortcomings, Fwends was exceptionally well-crafted. I also watched The Narrow Road to the Deep North from the Special Gala section, but I did not find it particularly compelling.
Watching films at a festival is akin to gambling—you never know if you’ll win or lose until the end of the screening. Though film appreciation is subjective, there are objective elements to consider. A film may evoke strong emotions, either positively or negatively, and it is important to remain open to both possibilities. Ultimately, I found the films in Berlinale’s Perspectives section rewarding and enjoyable.
By selecting and recognizing outstanding films, festivals like Berlinale encourage filmmakers and help shape audience tastes. In this regard, Berlinale authorities deserve appreciation and commendation.
Bidhan Rebeiro
Edited by Savina Petkova
©FIPRESCI