“Film festivals are a place for everyone”

Tricia Tuttle, what does the Berlinale mean for Germany as a country of film and for the global film industry? 
The Berlinale has always been a great audience festival and a major platform for the international film in industry at the same time. Here in Berlin everyone converges to share ideas, experiences and insights. We want to foster and develop that. The Berlinale is all about bringing people together from around the world and presenting films which open up new perspectives on our world. It’s important to strike the right balance and do justice to as many different perspectives as possible. That isn’t always easy, but that’s why our work is so important. 

You come from the US and have an international outlook on the film industry. What keeps you coming back to the Berlinale?
The location alone is unique: Berlin with its exceptional cinemas in different parts of the city. Unlike in other major cities, Berlin doesn’t have one central place for cinema culture. Instead, it has a thriving decentralised cinema sector. This neighbourhood culture makes Berlin a special place and contributes to the impressive cultural wealth which is shaped by its fascinating history. 

What is your assessment of the film scene now in Germany and the work of our film-makers?
I’m excited by the young talent in Germany. I’ve met so many directors with broad palettes of film languages and styles who are also passionate about attracting new audiences to the cinema. I hope we can give this generation more space to drive the development of the film industry. 

In times of political tensions and social divisions, what responsibility falls to an international festival such as the Berlinale?
Germany, and the Berlinale in particular, has a unique role in this regard. As a public international festival located between Eastern and Western Europe, the Berlinale is located at a unique interface. Its position gives it a very particular significance. We show a wide range of films from many different parts of the world which engage with pressing social issues, such as the loss of cohesion, social transformation, and the rise of nationalist and authoritarian movements. Film-makers are taking up these issues in different ways, from documentaries to genre films and black comedies. 

What trends have you observed and what would you like to see in future?
I have been struck by the way cinema nowadays reflects such great cultural diversity. There’s a clear trend towards bringing in international talents. Many creatives are migrants – or their parents were – and you can see that in almost all films and branches. I can also see a modern Germany and a modern Europe. 

Diversity has always been of central importance to me. It’s something I have campaigned for vocally and passionately. I’m excited by the question of how we can make our programme more dynamic by consciously bringing different perspectives and voices onto the stage. That’s why I’m always on the lookout for voices which are under-represented in international cinema as a way of giving them a voice. 

Twenty-five years ago that still meant accepting compromises in order to give space to queer film-makers and directors who lacked funding for their productions. Yet by doing that, we have been able to show a new generation that festivals are a place for them and we have helped build up an audience for their works. We are committed to continuing that in future.