Berlin is a city that breathes history, and its film festival has always prided itself on being a mirror of the times. The Berlinale has long been a socially engaged festival with a deeply rooted political dimension. But does that still create cinematic magic, or has it become more of a moral obligation?
At a time when many people retreat into their comfort zones, rejecting the unfamiliar, the Berlinale wants to remind everyone of its founding mission from 1951: to be a place of international exchange. But what was once a promise of dialogue now often feels like an imposed duty to engage with the world’s most pressing issues—whether you want to or not.
Of course, cinema is more than just entertainment. It can provoke, challenge perspectives, and ask difficult questions. But it can also enchant, tell great stories, and offer escapism—something that sometimes feels missing from the Berlinale’s often austere selection.
The 75th Berlinale competition features 19 films from 26 countries, including one debut and one documentary. 17 films will have their world premieres, and eight were directed or co-directed by women. Star power is scarce in competition, with a few exceptions like Jessica Chastain in Michel Franco’s Dreams, Ethan Hawke and Margaret Qualley in Richard Linklater’s Blue Moon, or Marion Cotillard, Gaspar Noé, and August Diehl in The Ice Tower.
As always, the selection leans heavily on socially relevant themes and stylistic experimentation: Romanian filmmaker Radu Jude stays true to his sharp, playfully provocative style in Kontinental ‘25; Hong Sang-soo delivers yet another minimalist reflection in What Does That Nature Say to You?; and Hélène Cattet & Bruno Forzani’s visually ambitious neo-Giallo Reflection in a Dead Diamond is bound to stir controversy. Meanwhile, screenwriter-turned-director Rebecca Lenkiewicz makes her directorial debut with Hot Milk, starring Emma Mackey, Fiona Shaw, and Vicky Krieps. Mumblecore veteran Mary Bronstein returns to directing with If I Had Legs, I’d Kick You, while established filmmakers Lionel Baier and Gabriel Mascaro also present new works.
The Berlinale Special Gala at least brings in some more recognizable names, but not much excitement. James Mangold’s A Complete Unknown, starring Timothée Chalamet as Bob Dylan, already premiered in the U.S. last December—hardly a fresh Berlinale moment. Mickey 17, Bong Joon-ho’s sci-fi film starring Robert Pattinson, will hit global cinemas right after the festival, making its German premiere in Berlin feel like an afterthought.
More intriguing is the sudden comeback of Tom Tykwer, returning after nearly a decade (A Hologram for the King, 2016). Will his new film be a true highlight or just fuel nostalgic curiosity? Also surprising is the inclusion of Pa-gwa (The Old Woman with the Knife) by Min Kyu-dong, a world premiere starring renowned actress Lee Hye-young. But despite appearances, major Korean productions don’t see Berlinale as an international launchpad—if they can, they go to Cannes. The Berlinale remains more of a hub for independent Korean cinema, with festival regular Hong Sang-soo once again in the mix.
Adding a touch of prestige, the festival will honor Tilda Swinton with the Golden Bear for Lifetime Achievement.
© Courtesy of BFI Distribution
Last year, the Berlinale faced financial pressures, prompting the festival to secure budget an additional €1.9 million in government funding, bringing its total budget to just over $12 million. However, with Venice operating on roughly $20 million and Cannes boasting a $30 million budget, it’s no surprise that Berlin’s lineup feels weaker in terms of well-known, renowned filmmakers and star power.
“People often ask me if we’re a political festival, and we cannot and do not shy away from this,” says new festival director Tricia Tuttle, taking the reins after the tumultuous tenure of Carlo Chatrian and Mariette Rissenbeek. “Politics is arguably in the DNA of the city and the festival itself, but we hope that audiences will be talking about the vibrancy of the films and the art form itself.” Berlin’s political climate will certainly be in the air, especially with Germany’s national elections taking place on February 23—the final day of the festival.
Whether Todd Haynes’ jury will uncover a masterpiece among this selection or whether this will be a Berlinale of quieter tones remains to be seen.
