The release of an open letter signed by over 100 film artists has ignited a controversy at this year’s Berlin International Film Festival (Berlinale), exposing a growing rift between creatives demanding a stance against the ongoing conflict in Gaza and festival management, backed by the German government, seemingly determined to avoid the issue. The letter accuses the Berlinale of “censoring artists who oppose Israel’s ongoing genocide against Palestinians in Gaza and the German state’s key role in enabling it.”
Among the signatories are prominent figures including Tilda Swinton, Javier Bardem, Peter Mullan, Mike Leigh, Nan Goldin, Adam McKay, Mark Ruffalo, Saleh Bakri and Sarah Friedland. The collective voice of these artists underscores a deepening concern within the film community regarding the festival’s perceived silence on a matter of significant global importance.
The letter raises serious allegations regarding the festival’s practices, citing concerns from the Palestine Film Institute that the Berlinale has been “policing filmmakers” and collaborating with Federal Police on investigations. It also references reports from Film Workers for Palestine detailing a “feeling of paranoia” experienced by some filmmakers at the festival, a sense of lacking protection and facing potential persecution for expressing support for Palestinian rights.
A central point of contention is a statement made by Berlinale jury president Wim Wenders, who suggested that filmmakers should “stay out of politics.” The artists vehemently disagree, arguing that filmmaking is inherently political and cannot be separated from broader social and ethical concerns. They express deep concern that the German state-funded festival is contributing to what Irene Khan, the UN Special Rapporteur on Freedom of Expression and Opinion, has described as Germany’s misuse of legislation to “restrict advocacy for Palestinian rights, chilling public participation and shrinking discourse in academia and the arts.”
The letter draws a parallel to the situation faced by Chinese artist and dissident Ai Weiwei, who reportedly described Germany’s actions as reminiscent of the . This comparison highlights the gravity of the concerns raised by the signatories and their fear that fundamental freedoms of expression are being curtailed.
The open letter also points to the role of the US and German governments in supplying Israel with weaponry, including weapons deemed internationally forbidden, enabling the continuation of the conflict. It notes the Berlinale’s previous public condemnations of “atrocities” in Iran and Ukraine, questioning the inconsistency of its response to the situation in Gaza.
Beyond the open letter, the controversy extends to individual actions within the festival circuit. Kaouther Ben Hania, director of the award-winning film The Voice of Hind Rajab, refused to accept the “Most Valuable Film” award at the Cinema for Peace ceremony in Berlin after an Israeli general was also honored at the event. Ben Hania’s decision was a direct response to the death of six-year-old Hind Rajab, a Palestinian child killed during the conflict, and a condemnation of what she described as a “genocide.”
Ben Hania powerfully articulated her refusal, stating, “The Israeli army killed Hind Rajab; killed her family; killed the two paramedics who came to save her, with the complicity of the world’s most powerful governments and institutions.” She rejected the notion of allowing the deaths to serve as a backdrop for “a polite speech about peace” while the structures enabling the violence remain unchallenged.
In response to the growing criticism, Berlinale director Tricia Tuttle issued a statement defending the festival’s position. She acknowledged the diverse views of those involved but offered a somewhat evasive explanation, stating that the festival is “representing lots of people who have different views, including lots of people who live in Germany who want a more complex understanding of Israel’s positionality than maybe the rest of the world has right now.” She repeatedly used the word “complex” in relation to Israel, a point criticized by observers as minimizing the severity of the situation.
The festival’s stance has drawn further scrutiny given Germany’s own political climate. In , Culture Minister Claudia Roth denounced a Berlinale jury team for awarding a prize to the film No Other Land, which documents Israeli actions against Palestinians in the West Bank, labeling the decision antisemitic. More recently, a member of the Left Party faced accusations of antisemitism for attempting to close an art exhibition supporting Palestinian rights.
The unfolding events at the Berlinale reflect a broader trend of governments and institutions employing increasingly restrictive measures to suppress dissent and opposition to the violence in Gaza. The situation underscores the challenges faced by artists and cultural workers who seek to use their platforms to advocate for human rights and accountability, and raises concerns about the erosion of artistic freedom in the face of political pressure.
