The 50th Berlinale was thus a big change for all. Moritz de Hadeln announced that the 50th Berlinale would be a “magnificent, new festival”. Behind the scenes, though, it had been clear the festival organizers would be happy with a solid year without any scandals or mishaps.
The architecture of Potsdamer Platz made the 2000 Berlinale a festival of icy winds, but also of short walks between venues. “The nostalgics are in the minority,” said Moritz de Hadeln after the festival. There was considerable relief after moving the huge monolith of a festival and setting it down again without breaking it. In fact the new location already met the requirements of the festival in the opening days: professional guests praised the improved technology and infrastructure and, for many, the move to a less charming, but more functional location such as Potsdamer Platz meant being able to concentrate on what was really important.
The final venue was the Filmhaus, in which the Berlin Film Museum, the Friends of German Cinematheque, the International Forum for New Cinema, the German Film and TV Academy and the Arsenal Cinema came together under a single roof. Here it was especially noticeable that a concentration had not just symbolic value, but also created productive synergies. The new Arsenal was to be the main venue of the Forum. The “nostalgics” took a display sign from the old Arsensal with them from Welserstrasse.
A new corporate identity
For the anniversary and move, the Berlinale had come up with a more consistent corporate identity with the help of a PR agency. The most visible sign of this was the new logo and a unified look for the posters and publications. Here the core questions were really “who we are and who we want to be in the future,” as Moritz de Hadeln described the brainstorming session. A respectable undertaking for a 50-year-old, one could say, but actually the Berlinale had evolved from year to year. “Friendly but also somewhat chaotic,” had always been the festival’s image, de Hadeln openly admitted. The move had been an opportunity to rethink everything and create a new self-confident basis. Part of this new corporate identity also meant a less disharmonious appearance for various sections and areas. Without wiping away the differences between the Competition, Panorama, Kinderfilmfest, Forum, Retrospective, the New German Films series and the European Film Market, the festival was to be depicted as an organic whole.