As Germany prepares for a general election, Berlin International Film Festival director Tricia Tuttle has raised concerns about the growing influence of the far-right AfD party. Speaking ahead of the vote, she addressed the potential impact on the festival’s direction.
“I don’t know anyone that has an interest in a pluralistic society that values difference, that isn’t worried about what’s happening with the rise of the far-right,” she said. “It’s about closing down and fearing difference. I’m as worried as a lot of other people are here.”
Asked whether a shift in government would affect her role, she explained that it would depend on whether she could continue shaping the event as intended. “I’m here at the Berlinale to build a dynamic, international film festival that shows off German cinema on an international stage and also energizes local audiences,” she said. “But if the country wants something that’s more domestic and the government changes, then I’m not the right person for that.”
Political and Global Tensions Shape the Festival
This year’s Berlinale unfolded during a period of uncertainty in both Germany and the wider world. Alongside the upcoming elections, international concerns included President Donald Trump’s approach to foreign policy, particularly his position on Russia, Ukraine, and Gaza. These events were reflected in several films featured at the festival.
Among the selections were The Light, which follows a Berlin family confronting an uncertain future; Michel Franco’s Dreams, focused on the U.S.-Mexico border crisis; Radu Jude’s Kontinental ’25, addressing nationalism and corruption in Romania; and Kateryna Gornostai’s Timestamp, depicting the effects of war in Ukraine.
Tuttle, who previously led the BFI London Film Festival, took charge of Berlinale in 2024 when the event was in a difficult position. Looking back on her first year, she described the experience as challenging but rewarding.
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“I’m feeling completely exhausted but happy and proud of my team. I set myself lots of goals, and I feel like I achieved them with the team,” she said.
New Approaches and Structural Changes
Tuttle’s first year included efforts to update the festival’s infrastructure, secure financial stability, and strengthen relationships with the German film industry. She appointed Jacqueline Lyanga and Michael Stütz as programming deputies and worked on expanding the festival’s engagement with audiences.
“I wanted to connect with the German industry because I need that support, and I had to understand how I can support German distributors and exhibitors and filmmakers in a way that feels right for an international festival,” she said.
This year introduced several initiatives aimed at broadening access. The opening night was streamed in multiple cinemas across Germany, and a new public space, Hub 75, was launched for talks and events. Another addition was the Perspectives section, highlighting first-time filmmakers. Titles in this new competition included The Settlement by Mohamed Rashad, BLKNWS: Terms & Conditions by Kahlil Joseph, Little Trouble Girls by Urska Djukic, and Growing Down by Balint Daniel Sos.
Tuttle described its launch as successful. “It made all the nominations more visible and did very much what we wanted to do with the section. I’m very committed to it,” she said.
Free Speech and Festival Controversies
Berlinale has long been regarded as one of Europe’s most politically engaged film festivals, and this year, discussions about free speech played a central role. Tuttle and her team worked to maintain open dialogue while ensuring compliance with German laws.
Last year’s festival saw heated debates over the Israel-Palestine conflict, prompting organizers to clarify their policies. Despite these measures, tensions resurfaced when filmmaker Jun Li gave a speech that resulted in a police investigation after an audience member claimed his language violated German regulations on hate speech.
Tuttle explained the complexities involved in maintaining open discussions. “German law around free speech is pretty open and broad, but there are definitely laws around hate speech and laws around antisemitism that are different from state to state, and they’re also being defined by court cases,” she said.
She added that while it is important for people to express their views, communication should be approached thoughtfully. “Even though it can be very hard, we really believe in people being able to speak about the world, but also stress the need to be culturally sensitive,” she said. “That doesn’t mean don’t speak. It means if you want people to listen to you, try to speak so that people can hear what you’re saying.”
Tuttle also addressed criticism of her presence at a red carpet vigil for Israeli hostage David Cunio, whose story was featured in Tom Shoval’s A Letter to David. Some pro-Palestinian attendees saw this as taking a side. She responded by saying, “Being for someone doesn’t mean being against someone else.”
Audience Engagement and Industry Response
Berlinale reported a slight increase in ticket sales compared to last year. “The festival has an incredibly loyal, interested, and engaged local audience. Last year, there were 325,000 tickets sold, so this year is a little higher than that,” Tuttle said.
Industry professionals gathered at Berlinale’s European Film Market (EFM) in strong numbers, though major acquisition deals remained limited. Tuttle noted that while the broader industry remains cautious, independent distributors were able to secure films.
“What I heard from mid-sized independent distributors, who pick up bigger art house titles, is that it was a very positive market for them,” she said. “The sellers of those works also seemed happy, but I think it’s a tough period.”
