By Leah Matthews, Third Year Classical Studies
Celebrating its 75th year, the Berlinale Film Festival remains an international powerhouse—a cinematic extravaganza that stands shoulder to shoulder with Cannes and Venice. It is a festival of contrasts: a launchpad for underdog filmmakers and a revered stage for blockbuster premieres, a celebration of arthouse gems and a testing ground for potential classics. With around 400 films screened across the city, it is a titan in both scale and ambition. The festival culminates in the awarding of the prestigious Golden and Silver Bears, with past winners including The Deer Hunter (1978), Rain Man (1988), and Spirited Away (2002).
The heart of the festival lies in Potsdamer Platz, a modern, pulsating hub of activities and cinematic celebration. However, the festival sprawls far beyond this district, with screenings spread across 15 venues throughout Berlin. This decentralization is a double-edged sword: while it allows attendees to experience the city's diverse cinematic spaces, it also exercises one’s patience, stamina, and knowledge of Berlin’s labyrinth of a public transport system. Buses, trams, trains, and the U-Bahn form a reliable but occasionally inconvenient web, making travel between venues longwinded and exhausting. As we all know, exhaustion and film-watching are antagonists, although cinema sleeps do make for the some of the most pleasurable in the game. Some locations sit nearly an hour apart due to awkward routes—a logistical headache that risks deterring audiences from certain screenings, it certainly did for me. For Bristolians suffering from a Tier scooter addiction, this city will add fuel to the fire. Berlin, too, offers the turquoise steeds of glory, which, in my opinion, proved to be the swiftest mode of transport between venues.
Yet Berlinale is more than just a series of screenings. Many of the attendees I spoke with highlighted the festival’s Q&As and conferences as a defining feature. After many of the screenings, the festival provides intimate and illuminating conversations with the director and cast, which elevate one’s understanding and connection to the film. There is something uniquely electrifying about hearing a filmmaker dissect their work in real time, deepening the audience’s appreciation for their creation. The industry talks are equally as enriching, featuring professionals across a range of vocations in the cinematic universe, from animators to editors to cinematographers. These sessions not only demystify the film industry but also provide invaluable networking opportunities for those hoping to hop on the band wagon.
And, of course, there is the red carpet. As one of the world’s most esteemed film festivals, Berlinale attracts a dazzling array of A-listers, this year welcoming the likes of Timothée Chalamet, Robert Pattinson, Toni Collette, Margaret Qualley, Tilda Swinton, Benedict Cumberbatch, and Jury President Todd Haynes. The atmosphere is electric, with fans lining the barriers in hopes of a selfie or signature. Unlike the rigid exclusivity of Cannes, Berlinale’s red carpet feels refreshingly accessible—a spectacle shared with the public rather than guarded from it.
In terms of programming, this year’s line-up delivered both triumphs and disappointments. The festival’s successes included Bong Joon-ho’s Mickey 17, Richard Linklater’s Blue Moon, Eva Libertad’s Sorda, and Alex Russell’s Lurker. Yet for every standout, there were notable misses. The consensus among the critics I engaged with was that this year’s selection fell short of Berlinale’s usual standard, with films like Mary Bronstein’s If I Had Legs, I’d Kick You and Rebecca Lenkiewicz’s Hot Milk failing to stimulate much praise or excitement.
That said, Berlinale remains a vital cultural event—one that thrives not just on its films, but on the spirit of Berlin itself. The city, with its ceaseless creative energy and deep appreciation for the arts, amplifies the festival’s magic. Despite a few underwhelming selections, Berlinale 2025 was a testament to cinema’s enduring power. Next year, one hopes, it will return bigger and bolder, ready to reclaim its status as the flagship of international film.
Check out the rest of Leah Matthew's coverage of the Berlinale coming soon!
