The 76th Berlin International Film Festival, already underway, has become the epicenter of a growing controversy surrounding the war in Gaza and the role of art in political discourse. A wave of protest, sparked by comments from festival jury president Wim Wenders and culminating in a powerful on-stage rejection of an award by Tunisian director Kaouther Ben Hania, has exposed deep fissures within the film community and raised questions about the festival’s commitment to its stated values.
The initial flashpoint was Wenders’ response to a journalist’s question regarding the Berlinale’s lack of a public statement on the conflict in Gaza. His assertion that “We should stay out of politics” ignited immediate backlash, with critics accusing the festival of prioritizing neutrality over moral responsibility. This sentiment was powerfully articulated by author and filmmaker Arundhati Roy, who withdrew from a screening of her restored 1989 film, ’s In Which Annie Gives It Those Ones, calling Wenders’ remarks “shocked and disgusted.”
The situation escalated dramatically on , with the publication of an open letter signed by over 80 current and former Berlinale participants, including prominent figures such as Javier Bardem, Tilda Swinton, and Mike Leigh. The letter, first reported by Variety, accuses the festival of “institutional silence” and “censoring” regarding the war in Gaza. Signatories expressed dismay at what they perceive as the Berlinale’s “involvement in censoring artists who oppose Israel’s ongoing genocide against Palestinians in Gaza and the German state’s key role in enabling it.”
The letter draws a stark contrast between the festival’s response to the conflict in Gaza and its reaction to Russia’s war in Ukraine, suggesting a double standard in its approach to politically charged issues. It also alleges that filmmakers who have spoken out about Palestinian rights have been “aggressively reprimanded by senior festival programmers,” indicating a pattern of suppression rather than a simple lack of comment.
The controversy unfolded against the backdrop of the festival itself, creating a palpable tension between the artistic presentations and the political debate raging around them. The opening night film, No Good Men by Afghan director Shaharbano Sadat, was lauded for its political commentary on oppression in Afghanistan, prompting questions about the festival’s selective embrace of politically engaged cinema. Similarly, screenings of films focusing on refugee experiences, such as Static Clouds, were viewed through the lens of the broader debate about humanitarian crises and the responsibilities of artists to address them.
However, it was Kaouther Ben Hania’s actions at the “Cinema for Peace” awards ceremony that brought the conflict to a head. Ben Hania refused to accept the award for “Most Valuable Film” for her work, The Voice of Hind Rajab, leaving the statuette on the stage as a “reminder” of the bloodshed. Her statement, emphasizing that the situation facing Hind Rajab was “not an exception, but part of a genocide,” resonated deeply with many in the film community and further amplified the calls for the Berlinale to take a clear stance.
Festival director Tricia Tuttle responded with a defense of artistic freedom, asserting that artists have “the right to speak and the right to remain silent.” However, this argument was met with criticism, with many arguing that the festival had actively created an environment where speaking out on the issue of Gaza was discouraged. The incident also highlighted the complex relationship between art, politics, and the responsibilities of cultural institutions.
The situation is further complicated by Germany’s formal intervention at the International Court of Justice in support of Israel, rejecting accusations of genocide brought by South Africa. This political context underscores the sensitivity of the issue and the potential repercussions for the Berlinale if it were to adopt a more critical stance. The festival’s response, or lack thereof, is being closely watched not only by the film community but also by international observers interested in the intersection of art, politics, and human rights.
As the festival heads towards its conclusion on , the question remains whether the “Golden Bear” award ceremony will offer a moment for further protest or a chance for the festival to address the concerns raised by its critics. The events of the past week have undoubtedly shaken the Berlinale, forcing it to confront its own values and its role in a world grappling with complex political challenges. The legacy of Berlinale 2026 may not be the films it showcased, but the debate it ignited.
