Skip to main content

Being Human

It's been two years since the last Berlinale and while Potsdamer Platz is already teeming with journalists and other accredited participants, my heart begins to race with anticipation. The last few weeks have been filled with exam stress and studying on the one hand, and with all the preparations we always make for our favourite film festival on the other: team meetings, getting to know our new press coordinator Bernadette, whom we take into our hearts from the very first email, registrations for our badges, ticket orders for our non-accredited members and this year in particular: preparations and workshops for our newbies. In total there are four new faces who will be supporting us this year, all between 13 and 14 years old. The team spirit is colourful, sometimes chaotic, but still somehow harmonious and despite all our differences, we all only want one thing: that Berlinale finally beginns. A lot has happened under the new festival management of Mariette Rissenbeek and Carlo Chatrian, but for me it is sometimes difficult to differentiate what is only new for me because I missed the last Berlinale and what has just been added this year. But one thing is for sure: the festival is a huge dynamic creature that changes faster than you can say Fluffy. But what is also clear is that we would forgive this lovely beast for anything, even if an innovation doesn't suit us very well. After all, the Berlinale is made up of a huge bunch of film enthusiasts and great people who make the impossible possible for ten long days. They manage to cast a spell over the inner city of our chaotic metropolis. Stars and shooting stars find their way to Berlin and add a touch of glamour to the otherwise serene city wearing sweatpants. The world stands still for a moment and the works of artists from all over the world are honoured. Because in the end it's not about the winners of this festival - not really. It's about us all coming together and celebrating film itself. To look beyond our own horizons and, if only for a moment, gain an insight into other worlds. Into the life of a child on the other side of the world or the everyday life of a parallel world just two streets away, which you never pay any attention to because you are in your own bubble. It is about humanity. About being human and everything that goes with it, good and bad. That's what I look forward to most. Being human. Feeling the limits that you have as a human being and that become clear when you don't sleep for a week, forget to eat, hardly see the sun and move from one world to another. Surrounded by thousands of others who are also simply human. By dreamers who imagine how the world can be, despite everything that happens in it. And yet never lose touch with reality and are more aware of it than ever before, because it is shamelessly shown in every film. Unfiltered and raw. As a Berlinale child I am incredibly grateful for the unsparing view on this world I grew up with, although I enjoyed all the privileges that a white-skinned girl can have in our society. This festival has shaped me and taught me what it means to be human. And finally it is time again. Translated with www.DeepL.com/Translator (free version)
20.02.2020, Johanna Gosten

Comments

Popular posts from this blog

The wind phone as an emotional escape

After Yuki & Nina in the 2009 Kplus programme, Nobuhiro Suwa returns to the Generation programme with another film. His new film Kaze No Denwa is in the 14+ programme. The day after the world premiere he takes a whole hour for Clara and me to answer our questions about the shooting process, the situation in Japan and other things. We make ourselves comfortable in the lounge of the Hotel Berlin, Berlin and exchange thoughts about Kaze No Denwa, Japan and the world with nice background music, while Isabelle kindly translates for us. Free Generation Reporters : How did the film team come together and how did you find Serena Motola, Haru's actress? Nobuhiro Suwa : It has been 18 years since I shot my last film in Japan. Since 2002, I have actually only worked with French producers. So I didn't know most of my new colleagues before. It was all very exciting and I was quite nervous, but everything went well. We did a casting for Haru, several girls showed up, but in the end

A First Tender Rebellion

„How do you know god exists?“ Spain in the 1990s. At a Catholic school for girls, Celia finds herself on the threshold to teenage life. Slowly she and her friends get into first contact with alcohol and parties, listen to music together, smoke their first cigarette and get tips from teen magazines. However, this is resolved lovingly and gently. No excesses, nothing too dramatic. These are the first experiences of a twelve-year-old. Especially the new girl in class, Brisa from Barcelona, influences Celia. They have a lot in common, but at the same time Brisa cannot identify with the strong Catholicism, something Celia has never questioned. This lets Celia’s world crumble. She begins to question circumstances that she had previously taken for granted. A first tender rebellion begins. At home, the otherwise very intimate relationship with her single mother turns out to be increasingly difficult. Celia begins to demand more and more information about her family's background, even he

The country of possibilities?

"We want to go Disney. One ticket please." - a review of Los Lobos It is the hope that drives the family to the USA. The hope for a better life, less violence, away from the father. A mother with her two sons, who from now on have to spend their time alone in a run-down room. Samuel Kishi Leopo tells the story of his own childhood in Los Lobos, backed up by his brother's music. The brothers Maximiliano and Leonardo Nájar Márquez give an incredible performance. Due to the warm atmosphere on set and the improvisation of Martha Reyes Arias, who plays the mother, it is not difficult for the two to act completely natural. There was a script, but it served more to define the plot than for the dialogues, because Martha gave the two boys all the freedom during the shooting and adapted to it and not only implemented Samuel's instructions herself, but also transferred them to the two boys. The enthusiasm of the audience can be felt from the very first second. The U