Tom Tykwer on Opening Berlin With ‘Hardcore Political’ Film ‘The Light’ and Why He’s Not Playing the ‘Invitation Game’ With Germany’s Far-Right Officials (EXCLUSIVE)

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As a devoted cinema enthusiast, I’m eagerly anticipating Tom Tykwer‘s opening of the 75th Berlin Film Festival with “The Light.” This compelling narrative unfolds around a troubled German family, offering a timely perspective. Remarkably, it is their Syrian housekeeper who ultimately brings salvation to this dysfunctional household.

The political film by Tykwer, labeled as a strong political statement, will inaugurate the Berlinale on February 13 amidst the intense build-up to Germany’s general elections on February 21. A great deal hangs in the balance due to the surge of the far-right Alternative for Germany (AfD) party, advocating stricter immigration policies.

In “The Light,” directors Tykwer’s frequent collaborator Lars Eidinger and friend Nicolette Krebitz play the roles of Milena and Tim, a couple in their forties dealing with rebellious seventeen-year-old twins. Tala Al-Deen from “Tatort” takes on the character of Farrah, their household help who, according to the director, has her own plans or intentions.

This vibrant film, referred to by Tykwer as the “elder sibling” of his trailblazing thriller “Run Lola Run,” signifies the director’s comeback to the silver screen following a four-year stint as producer of the popular period series “Babylon Berlin.” This is the third time Berlin has been Tykwer’s focus, following “Heaven” in 2002 and “The International” in 2009. However, these previous films were not produced in German language.

Here, Tyker converses with EbMaster regarding the origin of “The Light,” which sprouted from his experiences as a parent, its intrinsically political nature, and offers insights into the Alternative for Germany (AfD) party.

You’ve been immersed in “Babylon Berlin” for a decade. What was the genesis of “The Light”?

I’ve been yearning to create a film about our current situation. The present day calls me, as it’s become clear that it demands cinematic experiences that immerse us in the chaos we face, presenting us with challenging questions and potential solutions, twists and conflicts. My personal struggle is being a parent, much like many of my friends. Our children often ask, “How did this happen? How did we end up here?” To which we respond, “We’ve tried to do good things.” But when they question our past actions for the last two decades, it becomes apparent that we’ve missed opportunities. It feels uncomfortable, slightly ominous, but there’s also a renewed sense of courage and determination welling up in me. I want to collaborate with the younger generation to see if, together, we can steer this ship back on course.

For the third time, you’re kicking off the Berlinale, but it feels significant that this is your first opening with a German-language film. Interestingly, it revolves around a Syrian immigrant at a crucial moment – the eve of German elections – when immigration policies and new migration rules are under intense scrutiny. What are your thoughts about this theme?

In essence, creating art involves working with people who share a strong belief in it. When the time comes for its unveiling, it seems as if we were all waiting for this moment – and this moment happens to coincide with the Berlin Film Festival presenting a film that corresponds to a new phase. I find myself embarking on a fresh creative journey, and I sense that Tricia [Tuttle, Berlin Film Festival artistic director] and her team share a similar ambition. They aim to present films that not only engage and provoke their audience but also resonate with the festival’s roots in Berlin.

I understand that last year, there was a contentious situation involving the AfD party being initially invited and later disinvited to the opening event. What are your thoughts on this matter?

To avoid any confusion, please express a clear answer – either affirmative or negative. It’s essential to make a decision before voicing your opinion, especially when addressing complex matters such as this one. We need to find a solution for the intricate situation at hand. However, I must emphasize that finding a resolution won’t be straightforward. A film festival serves as a public platform. If you’re in charge, it’s crucial to express your own perspective while managing the event. Yet, presenting films with progressive ideologies and then welcoming individuals who challenge those very ideas seems contradictory. I believe making choices is key in such situations.

To clarify, it seems you’re asking whether my position is that members of the Alternative for Germany (AfD) party should not be invited to the premiere of my movie, correct?

I didn’t literally express that opinion, but rather proposed a thought or idea. To clarify, I’ve produced a film that undeniably conveys messages. Being an artist, I believe it is my role to make strong declarations. I try to keep politics and art separate because I don’t engage in that realm. If the process behind the movie feels deep to me, I will support and acknowledge any conclusions drawn from it. However, the film being premiered tonight is highly political and represents the strongest stance I can take on various issues connected to this game of invitations and its challenges.

Below is a statement issued this week by the Berlin Film Festival on this thorny issue:

The custom is for the festival to announce its honored and distinguished guests, but it doesn’t discuss other festival invites. The Berlinale keeps its guest list confidential. However, here’s what the festival guarantees for all attendees: They will be provided with an open and welcoming environment where our shared values are embraced and upheld.

Let’s discuss the movie, “The Light”. It’s evident that the film is visually striking with a lot of impressive cinematography. I’d like to elaborate on its colorful and intricate visual style, often reminiscent of a kaleidoscope.

At the heart of this movie lies a turbulent family story, complicated by an unconventional character. However, surrounding this central theme is a whirlwind of incidents, factors, feelings, and highs and lows that mirror my current life experiences. Life feels chaotic, and I find myself feeling overwhelmed by its intensity compared to just a decade ago. The blurring lines between public and private life, the constant exposure even for solitary individuals through social media, and the impact of social media on politics are all contributing to this intense bubble we inhabit. We can’t escape it, so we have to adapt to this new reality.

To effectively portray and encompass the multifaceted nature of life, I found it essential to depict this complexity through the medium of filmmaking. My existence is not confined to a single melody; it’s a grand symphony, blending elements of hard rock, chanson, 12th note music, and more – everything happening simultaneously, everywhere, all at once. To convey this explosive energy while maintaining clarity in character development and interpersonal relationships was crucial. It wasn’t until recently that I recognized “The Light” as the older sibling of “Run Lola Run.” This realization was triggered by the memory of how “Lola” served as my previous Berlin experience, where I too proclaimed, “Life’s possibilities should mirror filmmaking’s possibilities.

This interview has been edited and condensed for clarity.

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2025-02-07 16:18