so it was the cloistered Berlinale gala at which the Golden Bear was least visible

They also faced the same Berlinales scenario, implacable in practice.

Berlinale #1

The first is a proper institution that divides the times and presents itself in written speeches, if the discussion and reading is directly from the teacher, from those who know the lecture best. early statements para role.

Artistic Director Tricia Tuttle and Jurado Oficial President Wim Wenders represent this first Berlinale. That’s asymism The Berlinale is polite but stillwhich is explained without hearing in cases like other formalities.

Last week, 81 figures from the world of cinema published a statement in the newspaper about the “complicity”, “silence” and “censorship” of certainties related to the genocide in Gaza. Tuttle said, “Take the criticismbecause it is part of democracy. También lo es el sacuerdo”.

“We’ve also been publicly challenged this year, and that’s good. It’s not always a good feeling, but it’s good because it means The Berlinale is important to people” said the artistic director.

However, Tuttle looked at the “but”, hidden behind a sad gesture of recognition: “This Berlinale was celebrated in a vulnerable and broken world and many people came away with a lot of pain, anger and a certain urgency for the world we live in, as it was in the cinemas. These sentiments are very real and relate to our community.”

Let me distinguish a certain relativizing paternalism in your words. A clear political position is not a matter of opinion, unless take responsibility for the tested.

And it was retaliatory – oh yes, really insulting – “you have an emotionally charged release, it’s not the Berlinale incident, it’s justat the Berlinale haciendo su trabajo“Emotionally charged” is meant to equate criticism with arguments as the simple product of an emotional breakdown. It’s a hand throttle light.

Berlinale #2

Luego, was the Berlinale of the opposition. It was all those votes that approved the price for He loudly and clearly extols the genocide, which he flatly refuses to admit.

He was one of them Fernando EimbckeJurado Ecuménico Award Fly: “One of the most important filmmakers, Jean-Luc Godard, I say that it is not about making political cinema, even cinematography hacer politically. Charles Chaplin said that movies should not send messages, that messages should be delivered from the theater. So now I’m testing my position,” records the more than 17 million homeless children in Gaza over the past two years.

Overnight, the conflict between the Berlinale was well placed and the protester stood with the apparition Abdullah Alkhatibcompany director Annals of the Siegeto the script. I dress in a kufiyareported directly to Tricia Tuttle saying it wasn’t read by the help:

“Palestine will recover. Remember, all over the world, that God supports us, that this man is against us, against our desire to live with dignity, and that all men seek silence.”

And he addressed the challenge to German public institutions: “They told me that I should take care of what I want to say now, because I am a Palestinian refugee in Germany and because I have so many red lines. But it doesn’t matter to me, I care about my people. My last words are for the government Germans.” Sois socios of Israeli genocide in Palestine. I think I’m smart enough to know that, but I’ve decided I don’t care.”

From the butacas terrace, the two Berlinales clashed with harshness and mutual abucheoswhich the host of the gala, the actress Désirée Nosbusch, could hardly keep from crying.

Berlinale #3

The third Berlinale is finally over; most represented. It was the joke that carries the theme of elastane that is used thoughts only moderately accurate and it never fails.

ganador of the Golden Bear, İlker Çatak (for family drama Yellow letters) admitted that he had prepared “a political speech, but let me not read it. There are many intelligent people here who have said certain things…”.

Random ideas improvised Sandra Hüller, Oso de Plata a la Mejor Interpretación Principal: “Everything I say is true, everything. I find it very uncomfortable to be in a room full of people who speak so many truthsIt is the third way.

Main nominee Wim Wenders also wanted to be included in this last group, equal distance. “Let’s talk about the artificial contradiction that has occurred here in Berlin,” he prods, cataloging the difference in perspectives of each position in the debate. only “different languages”.

According to Wenders, filmmakers, critics, journalists and politicians, as well as Internet users, have four distinct idioms. The stance ends with “debate over which language should carry the burden of interpreting this holidayl”, he admits to a productive coexistence.

This is something the same person is forced to reject in his polemical discussion of how “cinematography should be completely opposed to politics”, so much so that he radicalized extremes that were mutually repulsive.

Today, in return, he called for symbiosis: “It’s not a competition, it’s an alliance”, he stated, assuming a discussion of issues that, on the other hand, the objecting party had never argued.

Last year’s closing took place a day before the German elections, in which the ultrasider AfD began to behave as a second political force. Before an uncritical, denying or confused breadth, monsters are killing us

And ultimately, it is the symptomatic result of a heterogeneous demasiado official competition—if not outright indeterminate— that today’s awards are the last of our worries. Because we care about debate, but we enjoy movies more.

To continue, a list of favorite works:

Oso de Oro a la Mejor Película

Gelbe Briefe (Yellow Letters)by İlker Çatak

Jurado Grand Prix

Kurtuluş (salvation), by Emin Alper

Jurado price

Queen at seaby Lance Hammer

The best management

Grant Gee Lt Everyone kicks Bill Evans

Best protagonist

Sandra Hüller, Lt Roses by Markus Schleinzer

The best interpretation of the department

Tom Courtenay and Anna Calder-Marshall, Lt Queen at sea by Lance Hammer

Major Guion

Nina Rosede Geneviève Dulude-de Celles

Oso de Plata a la Contribution Artística

Anna Fitch and Banker White, Dir Yo (Love is a rebellious bird) by Anna Fitch and Banker White