The 2026 Berlinale started with a bang. The unwanted kind. At the inaugural press conference Jury president Wim Wenders answered a reporter’s question regarding the festival’s position on the Gaza conflict in essence with the sentiment: “artists need to keep out of politics“. Well, that went down as expected. Even though the director of the Berlinale, Tricia Tuttle, stood by Wenders, an uproar emerged, artists cancelled their visit, open letters were published and the situation fostered a wide discussion of what is the purpose of the artist in general and specifically of the Berlinale.
Of course, there are no easy answers to a question like this, but in my mind one thing is indisputable: the festival known for being “the political festival” can’t duck and dive, when the going gets tough. Otherwise it does a disservice to all the film makers who flock to Berlin to be seen in their struggles and to get the chance of this incredible platform to talk about their experiences. That in itself is and has always been political. If you deny that, then there is no need for the Berlinale.
Funnily after all this, the winning films were – in true Berlinale fashion – as political as it gets. The Golden Bear winner Yellow Letters is a Turkish-German political drama focusing on an artist couple facing state suppression. The winner of the GWFF Best First Feature Award Chronicles From The Siege showing people under unbearable war conditions; the director Abdallah Alkhatib used the stage for an extremely political acceptance speech/manifesto, that once again fired up the discussions.
But I would like to take this opportunity to talk about the films beyond these discussions, writes Sabine “Bee” Koch. I had the chance to see 28 in total (seeing every one of the 276 films of course being impossible) and these stood out to me:
Chicas Tristes, Mexico
A coming-of-age tale from the Generations 14plus section that shows a clear vision of the two main characters and how their friendship is tested. When one of them experiences a sexual assault and the other has her own idea of how to handle it, there are no easy answers and both need to navigate their feelings while not losing site of the other. Never betraying any of its protagonists and giving them their time to develop in the realm of the story, Chicas Tristes has it all: excellent young actors, wonderful, emotive camera work and a point of view. This film has female power in front and behind the camera and is telling this important story with exactly these sensibilities. Extraordinary!
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- Chicas Tristes
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- Chicas Tristes
Everybody Digs Bill Evans, Ireland/UK
With a tour-de-force performance by Anders Danielsen Lie in the titular role and some wonderful supporting work by Bill Pullman and Laurie Metcalf, Grant Lee (winner of the director prize) shows a specific, very turbulent time in the life of ‘Jazz Great’ Bill Evans. Mostly shot in stunning black and white (shout out to Piers McGrail), you are invited into the inner life of a troubled genius, who can’t cope, when tragedy strikes and he is forced to re-calibrate his whole artistic life. The music of course is a major part of this film and it gives everything another layer. I wasn’t so keen on the colour elements of the story, but that is a minor quibble. Magnificent!
Black Burns Fast, South Africa
This joyful gem follows Luthando as she realises, that she is not only dorky but also queer. The fact, that this story is told in an absolutely positive manner, is such a wonderful surprise. When all you ever hear about LGBTQIA+ matters from the African continent is one horror story after another, it is so refreshing, to concentrate on the people and their inner life. Director Sandulela Asanda has a soft touch in showing the joys of first love, enduring friendship and to see your peers in a new light. Our heroines know or finally find their worth and the relationships that really matter. Lead by her outstanding acting ensemble, the story gives you all the richness it deserves. Inspiring!
Dir: Sandulela Asanda, Black Burns Fast
There were other great films, many of whom featured female protagonists for example Nigerian delight Lady, Mexican saga Moscas, South Korean stand out En route to (another Generations winner in my eyes).
Lady by Olive Nwosu (Director, Screenplay)
To have countless film makers from emerging countries visiting Berlin to present their films and be available for a Q&A after the screening is always a special treat. And there were also fun detours to genres, that one doesn’t see often at this film festival, such as Indonesian horror.
In true Berlinale fashion, the programme was vast and international with films from over 100 countries. And the festival continues to be on the forefront of gender equality with 42% of the directors identifying as female, 4% as nonbinary. That championed different views and ideas about the world we live in – in other words: it was political. Contrary to some beliefs, that is just as we like our Berlinale!
READ MORE of Sabine Koch’s take of BERLINALE here.
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