Berlin Film Festival artistic director Carlo Chatrian on Wednesday unveiled the full lineup for the fest’s 72nd edition which he is hellbent on holding as an in-person event despite the global spread of the omicron variant, even after other top fests such as Sundance and Rotterdam have thrown in the towel and gone online.
Chatrian spoke to Variety about the selection and what he expects his “exercise in resistance,” as he has called it, to be like on the ground in Berlin.
One thing that I think is clear is that the global film community is supporting your determination.
Yes. Despite everything that is happening, the willingness and desire to be part of the festival on the part of production companies, sellers, actors and directors is very strong. I was even moved a couple of weeks ago when they told me that Paolo Taviani, who is 91, really wants to come at any cost. I think filmmakers are pining to be reconnected [with audiences] and the Berlinale even more than other festivals gives that sense, because you are at the center of a city. Now let’s hope that we will now be able to make all this concrete.
You’ve pointed out that more than half of the films selected take place in the present day, but only two deal with the current pandemic. Which ones?
What I meant is that there are two films that are set nowadays and the characters in them deal with the pandemic, but they are not about people who get ill. One is the film by Claire Denis — “Both Sides of the Blade,” starring Juliette Binoche and Vincent Lindon — and the other one is Hong Sangsoo’s “The Novelist’s Film.” In both films you have people not only wearing masks, but also going though life during lockdown.
You also said family is a key focal point in many of the movies this year, as are human and emotional bonds. What are some of the films that are emblematic of this?
There is one film that I think can be taken as emblematic which is Ursula Meier’s “The Line.” Starting from the title. In the film one of the characters draws a line around a house. It’s a line that one of the characters cannot trespass because of something that happened. But the film is about being close to the line, being connected. The line is something that should divide, but at the same time it becomes a point of connection. It’s a film about how on the one hand we want to be connected, on the other hand we are afraid of being too close.
But I’ve found this in several other films. Hong Sangsoo’s “The Novelist’s Film” is all about chance encounters. Some are real, others are just formalities. Another good example for me is Carla Simon’s “Alcarràs,” a film not set during the pandemic about how a family from a different generation in a rural area in Catalonia deal with a difficult moment in time when the fields they work in are set to become an area for solar panels.
There are lot of other films dealing with family issues. Another is “A Piece of Sky” by Michael Koch which is also about a family. “Before, Now & Then” by Indonesian director Kamila Andini is another film — from a female point of view — about a family and dealing with the future and the past.
You have twelve returning filmmakers, eight of which in competition. And five who have already won at least one Berlin Bear. What is the significance of this?
I highlighted that aspect because on the one hand this edition is very connected to the tradition of the Berlinale, which I’m very happy about –– 12 out of 18 means almost two thirds of the selection is made up of filmmakers who have already been to the Berlinale, who know the Berlinale. At the same time I wanted to highlight that we want to discover new voices. There are six, and not all of them young filmmakers, who are coming to the festival for the first time. So there is also a breath of fresh air that includes two first-time filmmakers. It’s a good balance.
Besides Paolo Taviani who are the others who have won a Bear?
Ursula Meier, who won a Silver Bear, Andreas Dresen, Hong Sangsoo, Denis Côté, and François Ozon.
Seven out of eighteen films in the competition are directed by women. More in general, where does this year’s lineup stand in terms of gender balance?
I can’t give you exact data, but I think we have a better gender balance than usual. [We have] more women than in the past few years. We are not 50/50 but we are working to reach that level. As I’ve already said, for me it’s important to point out that all the seven films by female filmmakers are in the selection because they are good. As good as the others, and maybe even more. I am happy that out of eighteen we found seven. I hope that in the future we will be able to find more.
You’ve said film teams coming to Berlin are going to be smaller. Who are some of stars who might be coming? Will Nick Cave be coming to promote his latest collaboration with Andrew Dominik “This Much I Know To Be True” screening in the Berlinale Special program?
I think it’s a bit too early to answer that question. Some films were invited just a few days ago. What I can tell you is that right now we expect all the films in competition to come with talent. Whether this will be the reality, it’s too early to say.
My feeling is that all the films in competition will come with guests, whether that will be the case or not is a bit too early to say. Regarding Nick Cave, we are in contact with him. It’s not going to be easy, but it’s not to be ruled out.
“Call Jane,” the directorial debut of “Carol” screenwriter Phyllis Nagy, which among other talents stars Sigourney Weaver, will premiere at the online-only Sundance. Berlin could give them an opportunity to have a non-virtual premiere. Will they be coming?
The production and the sales company are totally aware of that. But of course it’s easier for film teams traveling from Europe to commit three weeks prior. It’s tougher when it comes to the U.S., given the numbers and cases in the U.S. We expect Phillis and the main cast to attend, but I cannot confirm.
How about U.S. crime drama “The Outfit” directed by Graham Moore and starring Mark Rylance, Zoey Deutch and Dylan O’Brien?
Graham Moore is expected to attend. I don’t think Mark Rylance will be coming due to a work commitment. But we are expecting the other cast members. But again it’s the same as with “Call Jane.” Universal is willing to bring the director and some of the cast to Berlin to take advantage of the physical premiere opportunity with a red carpet, press conference, interviews. But not sure yet.
What is the feeling going to be like on the ground for people attending the festival, compared with Cannes and Venice? One of the elements of those festivals was having on-site testing. Will that also be the case in Berlin?
The biggest difference between us and Cannes and Venice is that we take place in winter. So we cannot expect people to hang out and meet outdoors. The other big difference is that the festival takes place in a big city which is the country’s capital. The rules are actually changing in Berlin as we speak. Yesterday in order to access a movie theater you had to have been tested [on a daily basis]. But right now you can access a movie theatre, if you are fully vaccinated, without having been tested. We need some time to really get a sense of the rules that will be in place at the beginning of February.
If you ask about my sense, my feeling is that we will have a festival with screenings in place, with most delegations coming, albeit small ones, but with the filmmakers and lead talents. And I hope — and this is the big question here in Germany — that the audience will attend. But I am confident that they will overcome the fear that is of course normal because I feel that, as always, there is a lot of expectation for the Berlinale.
As for testing, the city of Berlin is spotted with testing stations. Unlike France and Italy, it’s already a habit for a Berliner to get tested once or twice a week.