A Brief History of the Berlinale 

On January 22, 2024, the 74th Berlin International Film Festival officially announced its main competition and Encounters selection, following the previous announcements of short film competition, forums, forum extensions, and panoramas.

The festival opened with "Small Things Like These," directed by Tim Mielants and starring Cillian Murphy. Other notable entries in the main competition include "A Traveler's Needs," directed by Hong Sang-soo and starring Isabelle Huppert.

Lupita Nyong'o, Academy Award winner, serves as this year's chair of the Berlinale jury. On February 20, she presented the Golden Bear for Lifetime Achievement to American film director Martin Scorsese, while Edgar Reitz, a renowned German filmmaker and one of the drafters of the "Oberhausen Manifesto" advocating for new cinema, received the Berlinale Camera.

A Brief History of the Berlin International Film Festival

The Berlinale, the youngest of Europe's three major film festivals, was established in 1951, following the Venice Film Festival in 1932 and the Cannes Film Festival in 1946. Geographical proximity naturally led to comparisons and competition among the three festivals. In 1956, the Berlinale was honored with the "A-Class International Film Festival" accreditation by the International Federation of Film Producers (FIAPF). Unlike Venice and Cannes, which emphasize artistic and independent filmmaking, the Berlinale's inception and development have been influenced by political ideologies, with political undertones persisting throughout history. As global dynamics and cinematic narratives evolved, the political connotations of the Berlinale underwent shifts, transitioning from direct political statements to a focus on democratic themes.

During World War II, German cinema experienced a period of prosperity. However, in the post-war era, Germany faced political and national challenges, resulting in stagnation in the film industry. Nevertheless, the government continued to recognize cinema's soothing effects and economic benefits. Humanistic concerns of filmmakers and the Federal Republic of Germany's enthusiastic support for film funding propelled the industry's revival. In 1950, Germany decided to establish a film festival, with one of the Berlinale's primary objectives being to boost tourism and stimulate the economy.

The Berlin International Film Festival was intertwined with political factors, particularly during the Cold War era. Western countries, led by the United States, aimed to shape the festival as a platform for promoting Western civilization and democracy. Berlin, once a cultural hub in Eastern Europe, became a symbol of democratic resurgence in West Germany while also serving as a political tool of the "Iron Curtain," excluding films from communist countries. Along the East-West border of Germany, 21 cinemas showcased Western culture to socialist countries through organized screenings during the festival, a practice halted with the construction of the Berlin Wall on August 13, 1961. To maintain ties with East Germany, West Germany decided in 1963 to broadcast six evenings of television programs about the festival. Unlike Venice and Cannes, which attracted tourists with their festivals, sunshine, and scenic beauty, Berlin, ravaged by war and divided by conflict, could not rely on such leisurely attractions.

The Berlinale faced initial exclusion and challenges from the Venice and Cannes festivals. In a meeting held by the International Federation of Film Producers in Venice in September 1950, it was decided that, until 1951, European international film festivals would be limited to Venice and Cannes. However, the emergence of film festivals in socialist countries led to a significant decrease in profits for existing festivals. Although the governments of Italy and France initially rejected the establishment of the Berlinale, their respective producer associations agreed to submit films to Berlin. Consequently, a German jury was established, and different award categories were introduced to facilitate the participation of most countries, including the United States, which submitted its latest films for competition, some of which had yet to premiere internationally. Conflicts were eventually resolved through compromise. Due to political and market competition, the Berlin International Film Festival was granted A-Class status by the International Federation of Film Producers in 1956, prompting the introduction of international juries and juries.

With the entry into the A-Class category, the Berlinale could no longer rely solely on political promotion. Its new challenge was returning to artistic pursuits and exploring opportunities for international distribution and investment.

Alfred Bauer played a pivotal role in this new phase. He served as the organizer of the early Berlin International Film Festivals. He sought to restore Berlin to a central position in the European cultural landscape, once again becoming a film production and distribution hub. Due to the division of Germany at the time, West German filmmakers could not access Studio Babelsberg and the Johannessta studios under Soviet control, leading to a dispersion of film production locations and hindering Berlin from becoming a fixed gathering place. Filmmakers frequently traveled between locations, with Munich emerging as a new center for film distribution, posing as the biggest competitor to Berlin's cultural influence. The West Berlin Film Union, facing the weakness of the Berlin film industry, sought to use the Berlinale as a platform to connect the workforce and resources. Both the government and filmmakers attached importance to the development of the Berlin International Film Festival.

In the disadvantaged economic and demographic environment of West Berlin, the Berlinale lacked the resources of Venice and Cannes. Faced with cost and environmental pressures, the Berlin International Film Festival adopted a strategy of populism, placing audience attendance and fans in prominent positions, thus introducing outdoor screenings, celebrity parades, and autograph sessions. Particularly for political reasons, outdoor screenings were located at the border between East and West Berlin, hoping to attract people from East Berlin. The Berlin International Film Festival also entrusted the decision-making power of awards to the audience. From the 2nd to the 5th edition, awards were determined by audience votes. In 1956, a system was adopted where both international juries and audiences jointly decided on the award winners. After 1957, the entire process shifted to a jury voting system. With a fan base and regional influence, the Berlin International Film Festival officially embarked on professionalization.

Throughout the Cold War era, the development of European cinema faced crises, and even the Venice and Cannes film festivals had to make adjustments. Faced with issues such as anti-commercialism in third-world country cinema, the Vietnam War, and continuous innovation in film, the Berlin International Film Festival faced increasing pressure. In January 1970, the Berlinale planned to launch a program called "Arsenal" during the festival, which would include various types of films, focusing on avant-garde, narrative, and documentary films from different aspects and levels. However, due to the political sensitivities of the time, the "Arsenal" program was premature for many, ultimately failing. Nevertheless, this marked the beginning of the Berlinale's expansion. On February 25, 1969, the Berlin International Film Festival began preparations to invite East German films for exhibition. Invitations in 1970 and 1971 were rejected. In 1974, a movie from the former Soviet Union, "With You and Without You," entered the Berlin International Film Festival for the first time, albeit as an exhibition rather than a competition entry, signaling a changing political climate. In 1975, except for Albania, films from all European socialist countries competed.

Entering the 1980s, although socialist countries of the former Soviet Union resumed participation in the Berlin International Film Festival, tensions persisted. Under the influence of various political forces, the Berlinale cautiously adjusted its focus, placing greater emphasis on cinematic artistry and multicultural exchange. In 1980, the films featured in the Forum addressed war and post-war stories, mother-daughter narratives, and young people, often with avant-garde elements. That same year, the Golden Bear winner, "Into the Storm," portrayed the qualities of young people in the post-war era. During this period, the Berlin International Film Festival demonstrated a propensity for addressing societal and humanistic themes. By 1984, the Berlinale notably began to focus on independent films, subcultures, and marginalized individuals, with screenings of Australian and American independent movies and non-mainstream American films, such as Henry Jaglom's "Can She Bake a Cherry Pie?" presented in an instinctual, improvisational manner.

The 1985 Berlin International Film Festival introduced critically reflective American films like Robert Altman's "Secret Honor." Films depicting urban and subcultural themes became prominent in the Berlinale's program, including portrayals of New York's Lower East Side in “The American.” The Berlin International Film Festival shifted its focus from international politics to societal, psychological, and cultural aspects while also promoting the exploration of market opportunities in popular culture. Interest in Asian cinema continued growing, with films from Indonesia, North Korea, and Hong Kong featured in the festival's lineup.