Belinale in Review WORDS BY Mia Sherry
With over 21,000 trade guests, 20 participating cinemas and a ‘slimmed down’ programme of only 340 films (note heavy sarcasm), it might surprise most movie-goers that the Berlinale is actually one of the most public-friendly and accessible of the ‘big three’ European Festivals (alongside Cannes and Venice), though it is perhaps the lesser known of the three. This isn’t a surprise, andFILM is not MIA even something the event tries to change; where Cannes and Venice fit their models to a more ‘international’ ( Hollywood-friendly) standard, often premiering at least one or two soon to be heavy-hitters in the Hollywood awards race, Berlin places a strong focus on the political and moral machinations within each film, often foregrounding current affairs and systematic oppression throughout their programmes. This year, the 70th, there was much to be said on poverty; with One of These Days (Bastien Gunther), Time To Hunt (Yoon Sung-Hyun) and Kids Run (Barbara Ott) all particularly foregrounding the issue and its cyclical nature. This year was perhaps one of the most exciting Berlinale years to date; with brand-new leadership coming in the form of Carlo Chatrien and Mariette Rissenbeek, after a 19-year tenure by Dieter Kosslick. The changes they brought were not exactly dramatic, but the international jury they selected speaks for itself; with representatives from America, France, Italy and, notably Palestine.The Berlinale gives other festivals a run for their money when it comes to gender diversity and equality, with 137 of the 340 films directed by women (in comparison to Cannes’ thirteen and Venice’s shocking two). With all that in mind, you may be wondering: but I’m not a film student, nor a filmmaker! How can I attend such a paragon of intellectual revelry? Am I cursed to be cast upon the rack of the uncultured forever more? Fear not, dear reader! Having attended two years in a row, in truth, I could discern no real difference in my experience with student accreditation than when I went as a member of the public-- bar the money I saved on tickets. Allow me to explain:
Accreditation? Who’s She?
Accreditation is a fancy word for a “pass” to the inner-workings of the festival. Consider it a more pretentious, less expensive version of Disneyland’s ‘fast-track’ system. There are over eight ‘types’ of accreditation; press, market, professional, talent etc. Yours truly was on the student accreditation (unfortunately only open for registered film students), and paid eighty euro (gwap) for a fancy tote bag and a piece of plastic with my name and picture on it (it was a nice picture though). I kid – though it’s a hefty sum for a lowly Student of the Arts like me, it ensures a ‘free’ pass into any film. So really, once you see at least eight films – which given the jam-packed programme is more than easy – you’re getting your money’s worth.
Hoi polloi, barbaroi
So, you want to go to the Berlin Film Festival, but you can’t get accredited. Without the tote bag or the fancy lanyard, is there even any point? But of course there is! I cannot stress how much this year opened my eyes to the minute (if, non-existent) difference between student accreditation and going as a regular pleb. If anything, going publicly is easier. With accreditation, the money that you’ve spent on actually getting it means that, unless you’re absolutely terrible at managing your funds, you’re locked in to getting your tickets in person at the accredited ticket booth, which means 5 am starts (and with most evening films ending at least at midnight, this is no easy feat) to stand in a queue for three hours, and feeling the life drain out of you as each day trudges on.
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