Artistic Director's Blog

Journal

A festival programme is, even more than just a (hopefully coherent) line-up of films, the result of a year’s worth of work, of meetings, of travel, of frequently unexpected and instantaneous viewings. When putting together the selection, this part of the experience doesn’t get its moment in the spotlight, but I’ve become increasingly aware of the importance of this unseen part that precedes and accompanies the film viewings.

Safeguarding a space where it is not imperative to immediately respond to the signal one has received – as in the rush of the pure selection process - is not only healthy but also essential, if we want a line-up that isn’t consumed over the course of eleven days but lingers in the minds and bodies of the viewers. Writing these small notes, a journal chronicling the months that unfold, is an attempt to stop the frantic flow of time and screenings and try to give a personal, approximate answer to the smoke signals that grabbed my attention. More often than not, they have no direct correlation with the Berlinale programme, but they bow before it by recalling what has been or by announcing what will be.

Carlo Chatrian is the Artistic Director of the Berlinale. In his texts he reflects and describes his journey to the festival programme over the year and approaches the story of the Berlinale in a personal way.

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@ Nurith Wagner-Strauss @ Nurith Wagner-Strauss

…recounting the years

…recounting the years does not claim to be a history of the Berlinale. It is more of a collection of thoughts that are self-contained and not leading to a specific destination. The idea of the project is simple: to recount the years of the Berlinale I did not get to experience as a viewer, discussing seven films that, after their festival screening, made their way into my corner of the world, and grabbed me…

Until the end of the year, every Friday a new text will be published.

© Erika Rabau © Erika Rabau
© Erika Rabau © Erika Rabau
On Hitchcock's Film from 1951

Rebecca. Shadows From the Past.

Rebecca arrived at the Berlinale ten years after its initial theatrical run. A lot had happened during those ten years, and while cinema – especially in post-war Berlin – has always been an entertaining means to escape from the present, it’s impossible not to imagine how that film, a mystery that opens on a once glorious villa now in ruins, affected the minds of viewers at the first Berlin Film Festival...