`Berlinale Chief Defies Politics for a Love of Cinema`

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The Berlin International Film Festival is known for its political significance, having been established in 1951 as a symbol of democracy amidst the communist backdrop of East Germany during the Cold War.

For this year’s 75th anniversary, the festival finds itself occurring during the closing fortnight of a federal election in Germany, predicted to swing towards the conservative side, with the right-wing Alternative für Deutschland party intensifying its anti-immigrant stance. This puts the Berlinale director in a precarious situation, given their reporting line to the German federal government and the festival’s primary financial support coming from the federal government and the state of Berlin.

Last year, the strained dynamics with political figures were clearly demonstrated when Berlin Mayor Kai Wegner claimed that comments made by award recipients during the Berlinale closing ceremony, criticizing the Israeli government, were antisemitic. This view was shared by other politicians, as well as Israel’s ambassador to Germany. The filmmakers denied these accusations, but the festival distanced itself from their on-stage remarks, saying, “The biased and activist statements made by award winners were personal opinions; they do not represent the festival’s stance.” However, it also stated, “The Berlinale, as in the past, considers itself a venue for open dialogue between cultures and nations. As such, we must tolerate opinions and statements that differ from our own.”

The relationship between lawmakers and the organizers of the Berlinale film festival was tense last year. When some award winners criticized the Israeli government during the closing ceremony, the mayor and others called it antisemitic. However, the filmmakers denied this, and the festival distanced itself from their remarks but said they supported free speech. They stated that the opinions of award winners were personal and didn’t reflect the festival’s stance, but also acknowledged that as a platform for diverse voices, they must tolerate opinions that challenge their own.

2023 marks the year that Tricia Tuttle, a film festival leader originally hailing from North Carolina but based in London since the ’90s, takes over as head of the Berlinale. Before her move to Europe, she worked for BAFTA and then the British Film Institute (BFI) as deputy head of festivals starting in 2013. Among her responsibilities at BFI were managing events such as the London Film Festival. In 2018, Tuttle ascended to the director position of BFI festivals and headed the London Film Festival until 2022. Following this tenure, she joined the National Film and TV School in the U.K.

In conversation with EbMaster, she explains her preferred dynamic with politicians as “open, approachable, and supportive.” She notes that German politicians recognize the Berlinale’s significance to their country. Previously, in London, she worked with the BFI, where the London Film Festival is an integral part of the organization. The BFI maintains a semi-autonomous relationship with the government, receiving much of its funding from them. Over the years, she has consistently fostered positive, collaborative relationships with her funders. To reinforce her point, she cites the recent contribution of 1.9 million euros ($1.98 million) by the German federal government to the Berlinale this year, which helped it achieve a balanced budget.

Last year, Tuttle showcased her courage when she publicly supported the filmmakers involved in the Berlinale awards controversy on Instagram, asserting that their opinions weren’t anti-Semitic. Since then, she has consistently maintained this stance during subsequent media interviews.

The organizer informs EbMaster that she has successfully guaranteed filmmakers the liberty to voice their opinions during the festival, although with a proviso. “It’s crucial for filmmakers to understand that we aim to establish an environment where diverse viewpoints can be shared, even those that might be contentious,” she explains. “Germany, like every nation, has its own speech laws. Therefore, it’s essential to educate attendees about these regulations. However, I believe I have managed to alleviate concerns when discussing this matter with them.” (For the latest festival statement, check out the news here.)

As a film enthusiast, I can’t help but notice her growing fatigue when it comes to discussing political matters. Instead, it appears she yearns for a change in direction, expressing a strong preference towards delving deeper into the world of cinema.

Tuttle expresses her perspective on the current landscape of independent films using a single word: “thrilling.” During awards season, she notes, it feels unique that numerous movies are being discussed. It seems as though we’re expanding our horizons. She further comments, “Despite grappling with an industry in flux and a financially tough climate, filmmakers continue to create daring and thrilling independent cinema, right?

Despite scrutinizing countless films, numbering around 8,086 submissions over the past year, along with her programming team led by Michael Stütz and Jacqueline Lyanga as co-directors, she finds it challenging to discern recurring trends in modern cinema. However, she’s intrigued by a unique aspect – some films exhibit an exceptional singularity of perspective that is both the filmmaker’s personal viewpoint and the narrative’s as well as the character’s standpoint.

She references movies such as “If I Had Legs I’d Kick You,” by Mary Bronstein, which made its international debut at the Berlin competition. “It’s a film that challenges us to truly perceive and empathize with another person’s experiences in a way that’s incredibly engaging due to its innovative storytelling techniques.”

She mentions films like Mary Bronstein’s “If I Had Legs I’d Kick You,” which debuted at the Berlin competition. “It invites us to understand and feel another person’s experiences in a unique manner through its captivating cinematic style.

Additionally, she commends Arnaud Dufeys and Charlotte Devillers’ “We Believe You,” found within the Perspectives section for debut features. Likewise, it shares a comparable effect. It binds you with its cinematic eloquence, thus inducing an intensely emotional and acute sensation that resonates with the characters’ emotions. In my viewing experience this year, I’ve encountered several films that employ such techniques, making it truly exhilarating.

She points out, “If I were to summarize a recurring motif, it seems that filmmakers are acknowledging our chaotic, contentious times, and they’re addressing these realities in various creative manners.” Using the festival’s opening film, Tom Tykwer’s “The Light” (part of Berlinale Special Gala), as an illustration, she continues, “This filmmaker is reflecting this aspect of the world, not shying away from its challenges, but also finding moments of happiness and unity within it.

Kateryna Gornostai’s documentary “Timestamp” is similarly participating in the competition. This film is set amidst war in Ukraine, focusing on young people and educators. It doesn’t shy away from portraying the harsh reality of their world, but it also chooses to highlight their resilience, strength, and the budding hope depicted within the movie.

There are movies that portray a grim view of our world. I’m particularly fond of Radu Jude’s new film ‘Kontinental ’25’, which is in competition here. It has a rather bleak outlook, but it’s exceptionally well-written and acted. The same can be said for Michel Franco’s ‘Dreams’, another contender in the competition. As expected from Michel, his film presents a dark perspective of the world, yet I find it incredibly captivating. I believe Jessica Chastain is going to leave a lasting impression at the festival with her performance.

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2025-02-12 09:17