Berlin has been, is, and will continue to be a deeply political city. Having endured two world wars, the controversial Wall, the Cold War, and more recently its stance against Russia and in support of Israel, its moral positions have been firm and uncompromising. For that very reason, it is impossible for the world’s largest film festival, the Festival Internacional de Cine de Berlín, not to function as a political arena as well. This year was no exception. In fact, this edition has been one of the most politically charged in recent years, something evident in its official selection (more than 200 films in total), in the recurring controversies during press conferences, and ultimately in the choice of awarded films and the speeches delivered by their winners.

It all began on opening night at the red carpet. The noticeable absence of major “stars” —ultra-famous actors and directors— made it clear that the festival was not aiming to capture media attention through the parade of Hollywood and European VIPs, but through low- to mid-budget films focused on politically charged themes. Following the opening ceremony, the film that launched the festival, “No Good Men” by acclaimed Afghan filmmaker Shahrbanoo Sadat, stood out as a romantic comedy set in the days just before the Taliban regime’s return in 2021 — notably the first Afghan film to depict a kiss on screen.

The first press conference also sparked controversy. Jury president and German filmmaker Wim Wenders responded to a question regarding the German government’s alleged censorship of local artists protesting against the Israeli government and arms sales by stating that art should not be political. Yet on the final day, he appeared to soften his stance, declaring in his closing speech that art can indeed be political, but that it is up to the artist to decide which stories to tell, and that “being in favor of something does not mean being against someone else.” His remarks came in response to a letter signed by more than 80 international artists — including Javier Bardem and Tilda Swinton — who criticized the German government through the Berlinale platform.

Despite the tensions, the selection demonstrated remarkable artistic quality. Many of the films tackled themes such as immigration, xenophobia, cultural clashes, and societies on the brink of collapse due to extremist politics. These were stories that struck a precise and timely chord. Ultimately, while several awards appeared to align more with a message of political solidarity than with pure cinematic excellence, and while the starless red carpet diminished some of the spectacle, the artistic and filmmaking quality was undeniable. Not all critics were satisfied with the final list of winners, but debate, after all, is an essential part of this festival’s identity.