„[…] Formal fällt auf, dass die Fiktion in reale Kontexte eingebettet wird. Was so weit gehen kann, dass tatsächlich konkrete … Mehr
„[…] Formal fällt auf, dass die Fiktion in reale Kontexte eingebettet wird. Was so weit gehen kann, dass tatsächlich konkrete Orte und Zeiten benannt werden, wie in NUIT BLANCHES, der in der Wahlnacht am 22. April 2022 in Frankreich spielt oder im chinesischen Film WO DE PENG YOU (ALL TOMORROWS PARTIES), der am letzten Tag der Asienspiele 1990 in China ansetzt. Dass die Filmemacher*innen ihre Filme so konkret verorten wollten, das hat mich verblüfft.“
interview for shortfilm.de
interview for FluxFM
„This year, I have the feeling the stories are very heterogeneous; it’s very diverse and it’s more in the way people tell their stories that I see parallels. Almost all the films are somehow connected to reality or they mix fiction and reality in a very interesting way. That’s one thing. And, the other thing is that I think more than half of the films are made by women or co-directed by women and in more than half of the films, the main protagonist or one of the two protagonists is a woman. So, you will see different kinds of very interesting women in this program, which again, happened this way. It wasn’t something we looked for, but more and more people are telling stories with female characters in the lead, not necessarily only about women or feminist films, it’s more that the lead is female.“
interview for yellowbreadshorts.co
„Es gibt einige Filme im Programm, die ganz klar Fiktion sind, die auch gar nicht versuchen, hybrid zu sein oder pseudodokumentarisch. Vielmehr ist ganz deutlich zu sehen: es sind Fiktionen. Gleichzeitig verorten diese fiktionalen Erzählungen sich an Orten oder Ereignissen der Zeitgeschichte. So spielt etwa der chinesische Beitrag All Tomorrow‘s Parties am letzten Tag der Asienspiele in Peking 1990, der französische Film Nuits Blanches, während und nach der Stichwahl zwischen Le Pen und Macron im April 2022, The Veiled City thematisiert die große Smog-Katastrophe im London des Jahres 1952.“
interview for zeitgeschichte | online
„These films are just a reflection on what’s going on out there and what filmmakers are busy with and want to talk about so it shows the world we live in. We don’t have a guideline we want to share because if you have a guideline like, we want to do something about the refugee situation or climate change, it makes you blind to all the other beautiful films. If a film doesn’t tick that box, you’re likely to overlook the beautiful qualities a film has.“
interview for Directors Note
„The main thing I consider is energy: what kind of energy does the film have? What does this energy do with the next film? What will be the energy in the room, and what will I do with that energy?“
interview for Curation Hour
„For me, however, artistic freedom also includes giving one’s self permission to tell a story in a conventional way. Everyone should choose the means that best do justice to that which is seeking expression. Anything is possible, nothing is mandatory. I am very grateful that we have the fantastic possibility at the Berlinale to share liberties artists take, when it comes to both form and content , with an audience that is eager to engage with them. And that we are able to operate in a society in which these liberties are established and protected by law“
section interview for Berlinale website