The Berlinale concluded on Friday evening with a significant disruption, as Syrian-Palestinian director Abdallah Alkhatib used his acceptance speech for “Chronicles From the Siege” to sharply criticize the German government’s stance on the conflict in Gaza. The resulting protest led to German Environment Minister Carsten Schneider leaving the ceremony, highlighting a growing tension surrounding the festival’s engagement with political issues.
Alkhatib, accepting the award for his debut feature, accused the German government of being, in effect, a partner in what he described as a “genocide in the Gaza Strip.” Displaying a Palestinian flag on stage, he stated that those who stand with Palestine and those who oppose it, would be remembered. The accusation directly referenced the ongoing conflict and Germany’s support for Israel.
Schneider was the sole representative of the German federal government in attendance at the gala, according to reports. A spokesperson for his ministry subsequently stated that the minister found the accusations unacceptable and therefore left the hall during the speech. The spokesperson reiterated the German government’s position that Israel is defending itself following the attacks and is not committing genocide.
The incident followed earlier criticism leveled at the Israeli military during the awards ceremony by Lebanese filmmaker Marie-Rose Osta, who accepted an award for her short film. Osta did not mention the attacks. Moderator Désirée Nosbusch responded by stating that the festival’s thoughts were with all those suffering from war or terror.
The controversy extends beyond these individual moments, reflecting a broader debate about the Berlinale’s political role. Over 80 current and former participants of the festival, including actors Tilda Swinton and Javier Bardem, signed an open letter accusing the Berlinale of “silence” regarding the Gaza conflict and alleging “censoring” of artists who have spoken out. Festival director Tricia Tuttle has rejected the accusation of censorship, asserting that the Berlinale is a space where artists can express themselves, even when their contributions are uncomfortable or controversial.
Jury president Wim Wenders also faced criticism for his earlier comments suggesting the festival should “stay out of politics.” Wenders had emphasized that film art is characterized by empathy and complexity and should not be reduced to political slogans. During the closing gala, he urged political activists not to compete with art for attention.
The political unrest overshadowed the awards themselves. İlker Çatak’s political drama “Gelbe Briefe” (Yellow Letters) won the Golden Bear, the festival’s highest honor. Sandra Hüller received her second Silver Bear, and Turkish director Emin Alper was awarded for “Kurtuluş.”
The escalating tensions at the Berlinale reflect a wider trend within the international film festival circuit, where filmmakers and artists are increasingly challenging institutions to take a clear stance on global conflicts. The festival’s response – and the German government’s reaction to Alkhatib’s speech – will likely be closely watched as other major film events unfold throughout the year.
The incident also raises questions about the boundaries of artistic expression and political commentary at high-profile cultural events. While festivals often aim to provide a platform for diverse voices, the line between artistic freedom and potentially inflammatory rhetoric remains a delicate one, particularly in the context of deeply sensitive geopolitical issues.
The open letter signed by Swinton, Bardem, Mark Ruffalo, and others, initially published by Variety on , specifically cited Wenders’ comments as a catalyst for their protest. The signatories expressed dismay at what they perceived as the Berlinale’s “censoring” of artists opposing Israel’s actions in Gaza and Germany’s support for Israel. The letter also referenced findings by international rights organizations and a UN commission of inquiry that have identified potential acts of genocide in Gaza, accusations Israel has repeatedly denied.
Germany’s formal intervention at the International Court of Justice (ICJ) in support of Israel, rejecting South Africa’s genocide allegations, further fueled the controversy. This intervention, coupled with Wenders’ initial reluctance to address the situation in Gaza, created a perception among some filmmakers that the Berlinale was prioritizing political neutrality over solidarity with Palestinians.
