The statement by jury chair Wim Wenders that filmmakers should avoid political themes turned the Berlinale into an arena for institutional debates.
A statement from over eighty film industry professionals, including Javier Bardem and Tilda Swinton, criticizing the festival's "silence" regarding the conflict in Gaza further fueled the discussion.
Behind the scenes, the question is being discussed: can a festival that traditionally positions itself as political afford to be neutral? Paradoxically, at the program level, the Berlinale appears bolder than in its official statements. Thus, the festival ends up being "semi-rigid": on screen, there is political cinema, while in institutional aspects, there is cautious behavior.
This year, the Berlinale features over 200 films in various categories. The main competition includes 22 feature films from Europe, Asia, the Middle East, and North America. Many journalists note that there are enough well-known names in the competition, but few films that could be considered "Berlinale-level events." Among the participants are Mundruczó, Ainouz, Chen, and Shanel, but their works are perceived not as groundbreaking, but rather as solid pieces. Meanwhile, the parallel programs this year seem more interesting in content and form. These sections are positioned as more radical, politically engaged, and auteur-driven.
The tone of the festival was set by the opening film "No Good Men" by Afghan director Sadat Shahrbanu, which the author describes as a political romantic comedy. The film tells the story of women living in conditions where love becomes a luxury and the right to vote is a daily struggle. Humor in this story is not just a genre but a mechanism for survival. This work also raises questions about journalistic courage and seeks to restore the image of Afghan women from stereotypes to a more subjective perception. After watching, there is a feeling that life goes on despite all the difficulties.
No Good Men/Berlinale © Virginie Surdej
The film "Queen at Sea" starring Juliette Binoche (UK/France) was warmly received by audiences. It is an intimate drama about the memory of the body, aging, and the loss of identity, where status, beauty, and the right to choose are determined by age and physical condition. The film explores love in its most unusual manifestations.
Queen at Sea/Berlinale © Seafaring LLC
Critics also responded positively to "Rose" by Austrian director Markus Schleinz, a hard-hitting historical parable about a woman who, disguised as a man after the war, tries to "earn" her place in a society where acceptance is always conditional and fragile; the work is impeccably executed and impressively acted.
The experimental film "Everyone Likes Bill Evans" (USA/Germany) elicited mixed reactions from viewers but drew the attention of professionals due to its essayistic structure and musical composition.
This year, Turkey was represented by two films. "Yellow Pages" (Turkey/Germany) — a minimalist drama about alienation in a modern city was warmly received for its precise acting and restrained direction. "Liberation" (Turkey) — a politically charged film about the mechanisms of collective hatred sparked polar reactions and became one of the most discussed films.
Against this backdrop, the Singaporean work "We Are All Strangers" by Anthony Chen presented an example of "quiet cinema" — a subtle family statement about memory, migration, and unspoken feelings. The film was warmly received by both audiences and critics.
Personally, I was particularly struck by the film "Flies" by Mexican director Fernando Eimbcke. It is a delicate and carefully crafted piece about close relationships and love in any situation. It explores the world of children and the perception of purity and frequency. The film features a stunning shot from the hospital windows — one of the most memorable in recent times.
Moscas/Berlinale © Kinotitlán
Nevertheless, some high-profile premieres elicited a restrained response: politically engaged themes did not always find a convincing artistic solution, creating a sense of inconsistency in the competition.
Berlinale 2026 demonstrates the coexistence of two directions. On one hand, cinema sharply addressing social conflicts, and on the other, intimate stories about memory, body, and the fragility of identity. The names of the winners will be announced at the closing ceremony on February 22.
