Berlin’s Teddys Give Queer Cinema a Boost as LGBTQ+ Rights Erode Around the Globes

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This year signifies the 39th consecutive presentation of the Teddy Award, which stands as the longest-standing prizes at any significant film festival focusing on LGBTQ+ themes. Although the closing ceremony on February 21st follows customary proceedings for the Berlinale, this year’s events could make it one of the most impactful years in Teddy Award history due to global happenings.

President Trump is taking various steps against transgender individuals, rescinding President Biden’s executive order that required federal agencies to uphold a 2020 Supreme Court decision which classified LGBTQ discrimination as sex discrimination. Furthermore, he seems unaware of the existence of intersex children, a theme in one of this year’s most acclaimed Oscar-nominated films. Trump’s appointee Elon Musk has made anti-trans statements and supports Germany’s far-right Alternative for Germany (AfD) party, which has been critical of LGBTQ rights.

Currently, movies honored by the Teddys can offer valuable contrasts to the overall scene.

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At present, movies that receive accolades from the Teddys can serve as important counterparts to everything else.

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As of now, films recognized by the Teddys might provide crucial oppositions to the bigger picture.

Michael Stütz, who became head of the Panorama section in 2019 and oversees Teddy contenders from all Berlinale sections, stated that it’s hard to recall a recent year when there wasn’t a queer film in the main competition at Berlin. He emphasized that queer cinema has become an integral part of the festival, reflecting the growth and evolution of queer filmmaking over the past few decades.

Five years ago, Stütz observed a shift, as more equal gender representation and an uptick in BIPOC representation became apparent, following a period where ‘gay white male narratives’ held significant influence.

As a movie enthusiast, I’m thrilled to see the recognition that the Teddys are receiving on an international scale. This year, the victor of the best documentary feature category will have the honor of being added to the Oscars’ documentaries longlist directly. The 2025 Oscar contenders are shaping up to be quite intriguing, with Billy Shebar and David Roberts’ film “Monk in Pieces,” a captivating portrait of composer Meredith Monk, and Yihwen Chen’s groundbreaking Malaysian punk rock documentary, “Queer as Punk.” According to Stütz, this film is undoubtedly a powerful statement about LGBTQI* rights, a crucial topic in a country where being queer remains illegal.

Political significance can be observed in several notable film contenders as well. One example is Shatara Michelle Ford’s film “Dreams in Nightmares,” a road movie featuring three queer Black women navigating through the American Midwest, which resonates with many of the same issues and obstacles we encounter in Europe, according to Stütz. Another Panorama competition entry, Joy Gharoro-Akpojotor’s semi-autobiographical film “Dreamers,” is set within a U.K. detention center for asylum seekers. Although the movie depicts the struggles of being an immigrant and the shortcomings of the immigration system, Gharoro-Akpojotor emphasizes that it’s not just about these themes. Instead, she describes it as a story about two women who discover love in an unexpected setting while grappling with an uncertain future.

As a supporter, I find it compelling that the debut filmmaker, who may not have experienced a facility like her protagonist, shares similarities with her character as Nigerian migrants seeking asylum and needing to establish their identities. The movie’s focus mirrors Joi Prods.’ commitment to championing Black, queer, and female-led ventures while captivating diverse audiences. In her words, “I believe people can connect more with the love story.” She expresses a desire to avoid an isolated perspective, aiming instead for broader understanding. Navigating the challenge of securing a £1.3 million budget for a film without established stars is no easy feat, and this task becomes even more daunting when infusing diversity into the project. As she aptly puts it, “It’s becoming increasingly difficult to create any film, and adding diversity only makes it twice as hard.

The Queer Palm awards, unlike the Teddys’ connection with the Berlinale, hasn’t been officially integrated into the Cannes Film Festival 15 years after its inception. Its founding president, Franck Finance-Madureira, who will be speaking at a February 19 Queer Creations Teddy Talk panel in Berlin, recently established the first Queer Palm Lab for five debut filmmakers, providing mentorship from “Close” director Lukas Dhont. Applications are currently being accepted for a second edition with “Aftersun” director Charlotte Wells, but they’re still seeking financial support.

Creating events centered around LGBTQ issues in France is often challenging due to the reluctance of major corporations to participate, according to Finance-Madureira. The discussions surrounding gay marriage [which became legal in 2013] were contentious, and many companies recognized that a significant portion of France struggled with this subject matter. However, I believe it’s becoming increasingly challenging on a global scale.

Despite current global events, Gharoro-Akpojotor acknowledged the impact of queer movies. She explained, “It’s crucial for people to witness characters that reflect their identities,” and added, “It’s equally significant for others to understand that we, as a community, are part of this world.

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2025-02-16 09:16