The Berlin International Film Festival is facing a growing wave of controversy as it navigates questions of artistic freedom and political responsibility. Author Arundhati Roy has withdrawn from the festival following comments made by jury president Wim Wenders suggesting filmmakers should “stay out of politics.” The move comes amidst a broader debate about the festival’s response to the ongoing conflict in Gaza and its handling of invitations to members of Germany’s far-right Alternative for Germany (AfD) party.
Wenders’ remarks, made during the festival’s opening press conference on , sparked immediate backlash. He argued that while films can “change the world,” they should do so “not in a political way.” He elaborated, stating that filmmakers should be “the counterweight of politics, the opposite of politics,” focusing instead on “the work of people, not the work of politicians.”
Roy, who was scheduled to present a restored version of her 1989 film, In Which Annie Gives It Those Ones, responded with a scathing statement, calling Wenders’ comments “unconscionable.” She expressed concern that his words had reached “millions of people across the world” and lamented what she described as a silencing of crucial conversations. “To hear them say that art should not be political is jaw-dropping,” Roy stated. “We see a way of shutting down a conversation about a crime against humanity even as it unfolds before us in real time – when artists, writers and film-makers should be doing everything in their power to stop it.”
The Booker Prize-winning author further emphasized her belief that the events unfolding in Gaza constitute a “genocide of the Palestinian people by the state of Israel,” supported and funded by governments including the United States, and Germany. She concluded with a stark warning: “If the greatest film-makers and artists of our time cannot stand up and say so, they should know that history will judge them. I am shocked and disgusted.”
Roy’s withdrawal is only one facet of the turmoil surrounding this year’s Berlinale. The festival initially faced criticism for extending invitations to representatives of the AfD, Germany’s far-right party. Following widespread outcry from within the German film industry, the festival rescinded those invitations. According to festival sources, the decision came after discussions with German Culture Minister Claudia Roth, though Roth was initially opposed to the move. The growing number of industry professionals threatening to boycott the opening ceremony ultimately influenced the reversal.
The festival’s jury, led by Wenders, also fielded questions regarding the German government’s support for Israel. Ewa Puszczyńska, a jury member and producer of the Oscar-winning film The Zone of Interest, described the question as “complicated” and “a bit unfair.” She acknowledged the need to provoke thought but distanced the jury from taking a position on the geopolitical conflict, stating, “There are many other wars where genocide is committed and we do not talk about that.”
The situation highlights a growing tension within the international film community regarding the role of art in addressing political issues. Wenders’ position, advocating for a separation between art and politics, stands in contrast to Roy’s firm belief that artists have a moral obligation to engage with pressing global concerns. The debate underscores the complexities of navigating artistic expression within a politically charged landscape, particularly in the context of a festival heavily reliant on government funding.
Despite the controversy, Roy expressed a sense of fondness for the film that brought her to the festival in the first place. She described In Which Annie Gives It Those Ones, a project from 38 years ago, as “a whimsical film” and acknowledged “something sweet and wonderful” about its inclusion in the Berlinale Classics section.
The Berlinale’s handling of these issues will undoubtedly be closely watched by the film industry and observers of international cultural events. The festival’s attempt to balance artistic freedom with political sensitivity has, at least initially, proven to be a difficult undertaking, raising fundamental questions about the responsibilities of artists and institutions in times of global crisis.
