If you’ve been following me for a while now, you probably remember that I write a recap every month. Apart from including the month’s blog posts, I deal with the most important topic of the last thirty days. So it’s probably not a surprise that for February, I’m going to deal with the Berlinale 2020. I’ve been attending the film festival for the past thirteen years, and it’s always something I look forward to every winter.
Last year, I wrote a very long Berlinale diary with all my impressions. This year though, I decided to change my approach. Since this year marks the first Berlinale without Dieter Kosslick, the Festival’s iconic director, I’ll try to focus on both the highs and lows. Quite a few things changed under the new directors, Carlo Chatrian and Mariette Rissenbeek, and the Festival had to deal also with some issues.
So here, I will write honestly about my Berlinale 2020 experience. I will include movies, organizational stuff, and some things in between.
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Berlinale 2020 highs
Not a single Berlinale went by without a highlight. Sometimes, I recall the previous editions of the film just by thinking of one of its highlights. But then, I can remember the movies, the talks, even the weather during the Berlinale (hint: it’s always terrible anyway). The Berlinale 2020 was not an exception, and here’s what I’m going to remember.
Cate Blanchett at the Berlinale 2020
That’s obviously a highlight by itself. Cate Blanchett attended the Berlinale 2020 to introduce the TV series “Stateless.” Cate Blanchett was invited to talk in an event -and I, of course, had to be there. It was under the section of “Talents,” in which the Berlinale always allows actors and directors to present their views and opinions. Cate Blanchett shared her views about democracy and immigration in a panel of six people. I have captured an excerpt from her talk, and you can watch it on the video above.
Cate Blanchett, a UNHCR Goodwill Ambassador, impressed me with her simplicity and knowledge. In this time and age, it’s vital to see leading film industry figures taking such substantial political positions. Definitely, a reason to remember the 70th Berlinale.
March 2020 update: I was kindly asked by the Berlinale Film Festival to remove my video from Youtube. Therefore, my video of Cate Blanchett is not available anymore online. I’ll try to add the official video when it’s available to the public.
Bloody nose, empty pockets
The Berlin International Film Festival is not all about the movies. It’s also about the city’s atmosphere and the people attending the Festival. I often say that one of the best parts of every film festival is Q&As after the screenings. But in the case of “Bloody nose, empty pockets,” everything was great: both the movie and the Q&A.
The film is an ode to the last night of a bar called Roaring 20’s, which is about to shut down forever. The camera follows a bunch of regulars, men, and women that seem slightly odd but very charming. It’s a warm and sentimental movie, and the camera sometimes moves around the set like it’s drunk as well.
Directors Bill and Turner Ross were there after the screening, and they talked about their film. Two men with a great sense of humor talked sensitively about an underground culture and brought an actor on stage, Kamari Stevens. That’s probably the movie that impressed me the most this year, not because it was the perfect one, but because it had the biggest heart.
Die Letzte Stadt (The last city) by Heinz Emigholz
Some movies are beyond being good or bad. Die Letzte Stadt by Heinz Emigholz is one of these movies that cannot even be categorized. Heinz Emigholz takes us on a profound philosophical journey in different timelines, narratives, and cities for less than two hours. Set in five different places (Athens, Berlin, Be’er Seva, Hong Kong, and São Paulo), the movie starts with an archaeologist and a weapons designer, who knew each other in a previous life: they were a filmmaker and a psychoanalyst respectively. From then on, it starts a film where the camera films always in unique angles and the dialogues are fast.
In the Q&A after the Berlinale screening, Heinz Emigholz insisted that cinema should search for new narratives. In the video above, you can get a good impression of his ideas on filming. Definitely, a movie to remember, with a touch of science fiction. But, honestly, it’s these kinds of movies that make the Berlinale special.
Berlinale Encounters
Whenever a film festival introduces a new section, it’s always a reason to celebrate. It translates to more movies and more perspectives. This year, the Berlinale launched the Encounters, which from its description on the official website, sounded both promising and fuzzy. The Festival directors wrote that “Encounters is a platform aiming to foster aesthetically and structurally daring works from independent, innovative filmmakers. Its goal is to support new cinema perspectives and give more room to diverse narrative and documentary forms in the official selection.”
I watched three movies from the Encounters, and I tried to figure out the reason for the new section. At first, the films seemed to be experimental movies that could probably fit either in the Panorama or the Forum. Then, I justified the Festival’s approach as the days went by.
That’s exactly what they aim for: to bridge a gap between Panorama and Forum. There’s a wide array of films in this gap, and by filling it with a section, the Festival is widening its perspectives. Maybe the focus is not yet that clear, but what makes the Berlinale special is also the fact that it’s not afraid to experiment.
So, yes, the Berlinale Encounters is probably here to stay, and I’m looking forward to next year’s edition. I have no clue if somebody from the Festival will ever read this article, but I would love to see more science fiction next year. I firmly believe that sci-fi movies have a place in Encounters. Let alone the fact that lately, the most accurate political comments come from sci-fi movies. I mean, how can somebody forget Shane Carruth’s Upstream Color? I still remember it, bought it on DVD and watch it from time to time.
A fish called Wanda
Yes, this was also part of the Berlinale 2020. Presented under the “Berlinale Classics” section, A Fish Called Wanda gains a place in this Berlinale diary thanks to its vitriolic humor. Originally released in 1988, A Fish Called Wanda was part of this year’s Berlinale due to its digitally restored version. Yes, some characters look like caricatures, but this comedy can still bring laughter after every sentence. Let alone that, the rough humor of the movie and the atmosphere of the ’80s narrate the story of a carefree era. It’s definitely a must for the open-air cinemas, especially if you want to dive into those sweet bygone days.
Berlinale 2020 lows
As it’s always the case, some things leave a bitter taste. While most of them are not dealbreakers, the truth is that they sometimes challenge my sentiments towards the Berlinale. Even if some movies are not Berlinale quality, I never complain. As I wrote in my guide to the Berlinale, we are here to celebrate cinematography. Even a bad movie celebrates cinema. But when it comes to organizational stuff, well, I can complain a lot.
Can we renovate some venues, please?
I mentioned the talk of Cate Blanchett in the Berlinale as one of the highlights of 2020. However, attending the talk was a hassle. The event took place at Hebbel am Ufer, admittedly one beautiful building with the worst seats in Berlin (okay, maybe it compares to Friedrichstadt Palast). The seats are uncomfortable and extremely tight, and you will leave the venue cramped. It’s a pity for the Berlinale to host events in places like this.
Yes, I know it’s a historical place and all, but the Festival takes place in the 21st century, and the prices are way too high. Paying 13 euros for a movie or an event (and 16 euros for the -equally uncomfortable- Berlinale Palast) is quite some money, and a Festival should offer joy. Taking aspirins after the talk would make sense if the conversation was horrible. But the talk was fantastic, and it’s a pity that we couldn’t enjoy it. Honestly, next year I expect something better.
13 euros for a Berlinale ticket is too much
Yes, I know that as well: the Berlinale is a huge film festival that requires hundreds of people to work for it and exhaustive working hours. I always give kudos to every single employee for that. However, the Festival has started to feel overpriced lately. I remember that in my first Berlinale the ticket cost 6 euros and the Publikumstag (the last day of the Festival which is supposedly cheaper and dedicated to the audience) was 3 euros. Nowadays, the ticket costs 13 euros, and the Publikumstag is 10. It’s a decade of rapid change in the prices -not a century.
Yes, times are changing, but salaries don’t. The 16 euros for the Competition films has cut me off from the section. Apart from the uncomfortable seats of the Berlinale Palast, 16 euros is quite some money. Last year, the German radio rbb interviewed me as one of the Berlinale’s superfans; if the prices keep rising, I won’t afford to be one anymore. Who cares? you might wonder -and you are right. But everybody screams for gentrification in Berlin: the last thing I want to see is Berlinale becoming a locomotive of gentrification. I’d love to see the Festival taking care of this issue.
Farewell to Cinestar at Sony Center
I have to be fair here and say that this has nothing to do with the organizers of the Berlinale 2020. But I just can’t remain silent on the closing of the Cinestar at Sony Center. The Cinestar was a multiplex that showed movies exclusively in OV (Original Version.) As you might know, most of the films are dubbed in Germany, although there are always cinemas presenting OVs in Berlin. For 20 years, between 1999 and 2019, the Cinestar at Sony Center was a place of socializing for expatriates. I remember watching loads of movies, and its closure marks the end of an era.
The Cinestar was, of course, a Berlinale venue, and as such, was a popular location at the Potsdamer Platz. Its closure is sad, mainly because it has become a ritual for moviegoers and Berlinale aficionados. But the lease came to an end, and the cinema had to close. I missed going there during the Berlinale 2020, and the fact that the faceless Cubix at Alexanderplatz absorbed most of Cinestar’s Berlinale movies didn’t make me happy.
Well, one can only hope for better days, but the old days aren’t coming back. At least we get some digitally restored versions to remember these days.
What’s fresh on the blog in February 2020
So, now that my Berlinale 2020 thoughts are over, it’s time for my travel blog’s recap. Last month, I covered my return to Berlin, and I wrote how happy I was to be traveling again after a hectic December. I traveled to Bucharest in February, which I failed to visit last year because I got sick. You will read my travel impressions soon from Bucharest, but staying there for a week was refreshing. Then, the last ten days of February, I was at the Berlinale; hence my time for writing was more limited.
All that said, in February, I uploaded four posts. I know that’s significantly less from January’s intense writing and posting, but traveling for a week and attending the Berlinale for ten days didn’t leave me so much time. At least I’m happy that I kept my posting habit of posting an article every Saturday. So, here’s what’s new on the blog.
First of all, I uploaded my travelogue from Odessa. I’m lately obsessed with the authenticity of Ukraine (Kyiv is also marvelous), so I was happy to take a more poetic approach while writing for the city. Odessa impressed me with its atmosphere and history, and I would love to return for a more extended stay. Since this was a month about Ukraine, I also posted my city guide for Kyiv. I tried to make it as thorough as possible, and you will find tips for budgeting, accommodation, and attractions.
As for the last two posts, they were really long. The first one is about Tempelhof Park and why visiting it is a political act. Located in the former Tempelhof Airport in the city’s heart, the Tempelhofer Feld is a unique park in Berlin. However, a matter of reasons makes it more special than just another park. Make sure to read the post -there’s also a video in the article- and let me know what you think.
As for the last post of February, that’s about the DJI Osmo Pocket. That’s the camera I use for shooting my videos. Don’t expect something huge, though: it weighs just 116 grams, half the weight of a smartphone. I wrote a very long review for the Osmo Pocket, and I’m convinced that this is a device from the future.
So, that’s it with my Berlinale 2020 thoughts and blog recap. I’ll see you next month and don’t forget to follow me on Youtube for more travel videos 🙂
What happened next: the bizarre Berlinale of 2022.
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Last Updated on January 14, 2023 by George Pavlopoulos