There’s always a third-act twist, right? Of course the final days of the 2025 Berlinale arrive with the surprise of a BVG strike, perhaps in an effort to ensure that we make the most of the unusually icy sidewalks while they last. At least the weekend is finally promising warmer temperatures, a thawing out to accompany the awards ceremony on Saturday and the Publikumstag on Sunday.

To take your mind off the impending Sunday elections, there are still plenty of screenings to attend – not that all of them will offer an escape from current events. One of the screenings I’m looking forward to on Friday is the Competition title STRICHKA CHASU (TIMESTAMP), and as of this writing there are still tickets available to screenings throughout the weekend. It’s an unconventional documentary about teachers and students in Ukraine, and their day-to-day lives during wartime. While I had to miss the Thursday premier due to the strike, I’ve only heard good things. If you’re looking for a powerful movie that will make you laugh and cry (maybe not in equal measure, but…) I’d say TIMESTAMP is a safe choice.

There are also tickets available for Radu Jude’s Competition entry KONTINENTAL ‘25. It’s another bitter ode to Romania from the 2021 Golden Bear winner. This time, it follows a Hungarian woman, who works in Cluj as a bailiff, as she deals with the emotional fallout of a suicide that occurred during the eviction a man from a building that is being turned into a boutique hotel. Like most of Jude’s movies, it’s a pitch black comedy, this time dealing with liberal guilt, historic guilt, religious guilt, as well as Jude’s pet themes of the absurdity of nationalism and the moral erosion of capitalism. Jude is a unique filmmaker in that his movies can simultaneously be a bummer and a whole lot of fun. There might be fewer laughs in KONTINENTAL ‘25 than there were in some of his previous films, but it’s no less striking and persuasive in its takedown of contemporary society’s misguided concerns.

And of course, it wouldn’t be a Berlinale without a new movie from Hong Sang-soo, and this year he’s back in the Competition with *deep breath* GEU JAYEONI NEGE MWORAGO HANI (WHAT DOES THAT NATURE SAY TO YOU). It’s a deserving return to the prestigious section as it’s a painfully funny movie about a guy being thrown into a precarious social situation when he finds himself unexpectedly meeting his girlfriend’s family. In many ways, it’s classic Hong – with lovely conversations that build upon each other, filled with awkwardly funny moments, leading to an epic, drunken revelation. I really felt for the protagonist this time around, an introverted poet who just wants to live a quiet, minimalist life, but is dating a girl whose family exudes the values of ambition and hard work. No matter how prolific Hong gets, I’ve yet to grow tired of his brand of subtle cinematic transcendence.

Speaking of Competition highlights, I feel compelled to mention that one of the biggest surprises this year came from Norway in the form of the other DREAMS of the Competition, DRØMMER, by writer/director Dag Johan Haugerud. It looks like all the screenings are currently sold out, but it’s worth keeping an eye on changing availability, especially if you’re in the mood for a charming, funny, heartwarming movie about a first love and a first heartbreak. It was a surprise because it starts out like a pretty typical coming-of-age movie, about a highschooler who falls for her teacher. But scene-by-scene it defies expectations and turns into something extremely unique and far smarter than I thought it would be. It’s another strong mother-daughter relationship movie from this year’s program – this time a very positive and upbeat one, unlike HOT MILK and IF I HAD LEGS I’D KICK YOU.

Lastly, for genre fans, I’ll mention HONEY BUNCH, a strong entry in the Berlinale Special section that delivers the goods when it comes to assorted thrills and chills. This is one of those movies that would be a crime to spoil, so I won’t say too much other than it’s another movie that will have you thinking you absolutely know where it’s heading, only to be pleasantly surprised when the third act comes around. If you liked SHUTTER ISLAND, then HONEY BUNCH might be just your cup of tea. And in this case, tickets may still be available for Saturday and Sunday screenings.

With that, I’ll sign off for this year. While I’m terrible at forecasting awards for Berlinale, let me put my ridiculous picks out there: Golden Bear goes to TIMESTAMP. Directing goes to REFLECTION IN A DEAD DIAMOND. Lead performance: Eszter Tompa (KONTINENTAL ‘25). Supporting performance: Fiona Shaw (HOT MILK). Screenplay: BLUE MOON. Mahalo!

As we round the corner into the second half of this year’s Berlinale, I hope everyone has made it this far without any ice-related injuries. Some of the sidewalks out there are downright perilous. In my memory it’s the coldest Berlinale in over a decade, and it’s got me kicking myself for not fixing the zipper on my parka. But most of the film-going crowd milling around Potsdamer Platz are dressed too chic for this weather. So let’s just tighten our scarves and hop inside a movie theater.

Today is a big one for my schedule as the Richard Linklater movie BLUE MOON and KONTINENTAL ‘25, the new one from Golden Bear winner Radu Jude, make their debuts – both in the Competition section. Of the Competition titles I’ve managed to catch so far, I must sing the praises of REFLET DANS UN DIAMANT MORT (REFLECTION IN A DEAD DIAMOND) the latest head-trip from Hélène Cattet and Bruno Forzani, the crazed minds behind AMER and LET THE CORPSES TAN.

Perhaps more than any of their previous films, this one is a pure, uncut dose of cinematic magic – absolutely packed with every kind of fun, old school, lo-fi special effect you can imagine. It’s all based around a brilliant what-if scenario: What if James Bond (or one of the various Euro spins on the character, like Diabolik -- though the great Fabio Testi has aged into a face that kinda resembles Sean Connery) was an old man teetering into dementia? As a new mystery causes him to reflect on his past, we're treated to hallucinatory flashbacks that raise questions as to whether he really was a secret agent, or maybe an actor, or maybe just a delusional fan. It's also something of a playful revisionist treatise on the icky gender dynamics in the various spy movie franchises of the 60s and 70s. So far, this is the only Berlinale movie I'm itching to see again ASAP. Cattet and Forzani's love of Mario Bava continues to surprise and impress.

I was less taken with IF I HAD LEGS I’D KICK YOU, Mary Bronstein’s two-hour unrelenting anxiety attack centered around a bravura performance by Rose Byrne. The movie is reminiscent of past Safdie Brothers movies, and sure enough Josh Safdie is a producer on this one. But I couldn’t find enough humor, heart, or story to keep me from feeling like it was all pretty pointless. A lot of the themes, of mother-daughter relationships and concerns over passing on toxic garbage to your progeny, are more thoughtfully dealt with in Rebecca Lenkiewicz’s HOT MILK. Many critics are down on HOT MILK and drunk on the buzzy A24 vibes of Bronstein’s movie, so what do I know? I don’t often complain about style-over-substance movies, but when the style is indistinguishable from one of the producers of your film, I’m left wondering what all the fuss is about. Byrne is great, though!

Also making its debut today is a wonderful documentary in the Panorama section called MONK IN PIECES, about the avant garde musician/performer Meredith Monk. The movie, by Billy Shebar and David Roberts, has the usual hallmarks of being filled with great footage of Monk throughout her past fifty years of productivity, interspersed with modern interviews from famous New York contemporaries like David Byrne. But it sets itself apart with some expressive editing that captures the unique rhythms of Monk’s music. What really got me though, was how the film carries Monk’s work through the barrage of condescending criticism that she received early on, into an era where she’s finally rewarded and celebrated for remaining true to her unusual vision. It’s inspiring stuff, a display of real artistic courage that had me in tears at a couple triumphant moments.

The last recommendation I’ll give is another upbeat movie, this one in the Generation KPlus section, called MAYA, DONNE-MOI UN TITRE (MAYA, GIVE ME A TITLE). Recently, there was the heartbreaking news that Michel Gondry’s musical movie GOLDEN was being shut down in post-production stage. If you’ve seen Gondry’s music videos for The Chemical Brothers, Bjork, Radiohead, or the like, you know he was specially gifted for choreographing images to music. Being denied Gondry’s first real attempt at a musical is a sadness that can only be remedied by enjoying MAYA, a wild little movie composed of a series of handmade, animated stories based on prompts given to him by his adorable young daughter. It’s both absurdist fun and a heartfelt ode to the joy of childlike imagination. If you’re looking for a dose of escapism at the Berlinale (and why wouldn’t you?), MAYA may be your best bet.

As our mayor Kai Wegner put it, “Februar ist Berlinale-Zeit,” the silver lining upon the dark clouds that often seem immovable during the city’s chilly winter months. Lately, every Berlinale edition seems to be special in one way or another. Following a couple years of shifting COVID protocols was the unexpected news that the 2024 edition would be the final year for Mariette Rissenbeek and Carlo Chatrian, who’d taken over for longtime director Dieter Kosslick. So, this is not only the 75th Berlinale, which is quite a milestone on its own, it’s also the first for the new festival director, Tricia Tuttle, who’s graduating from years of work with the BFI London Film Festival.

Whenever there’s a leadership change, there’s always plenty of scrutiny over the obvious changes being made and whether or not there are more subtle adjustments afoot. But this time the scrutiny is naturally heightened given the number of controversies surrounding last years’ shake up and all the politicking that was going on behind the scenes and in the newspapers.

I have to say, for the most part, it seems like business as usual. In her director’s statement, Tuttle even makes a point of saying that the festival isn’t going to shy away from being political – that politics are baked into the Berlinale’s identity. The lineup would seem to support this, as there are still plenty of titles addressing many crises going on around the world, both directly and indirectly. If one of Tuttle’s main objectives was to assure the artists that the festival was going to remain free of censorship, I’d say she’s done her job well as far as the program goes.

There are some of the more expected changes, however. The Encounters section of the program, which arrived during the short lived Rissenbeek-Chatrian era, has been replaced with Perspectives, a section devoted to debut feature films. One recent development that continues unimpeded is the blurring of the lines between television and film. As with the previous edition, episodes of TV series are finding their way into various sections around the program, rather than getting their own category. Make sure to read the fine print with some of these titles.

One place where you’re bound to find some TV is the Berlinale Special section, a sort-of catchall part of the program that continues to contain some of the glitzier, star-studded features of the festival. This is where we find the opening night film, Tom Tykwer’s latest, DAS LICHT (THE LIGHT). Much like other festivals, the Berlinale has a tendency to pick an audience-friendly movie with a big star as its opener, so I was pleasantly surprised when it was announced that Tykwer’s family drama, starring Nicolette Krebitz, Lars Eidinger, and Tala Al-Deen, was getting the prestigious Thursday-night spot. I’ll admit this is the first time in a long time that I’m interested in seeing the opening night film, as I’m a huge Lars Eidinger fanboy and it’s nice to see Tykwer taking a break from “Berlin Babylon” to do a feature film again – it’s been nearly ten years since his last one.

Overall, the festival is starting strong this year, bringing out some of its biggest titles in the first weekend. Bong Joon-Ho’s MICKEY 17, his long awaited follow-up to PARASITE, is finally getting its premier on Saturday. Featuring multiple Robert Pattinsons, as well as outsized performances from Toni Collette and Mark Ruffalo. It’s got a wild, comedic vibe that seems similar to 2017’s OKJA, a film I’m overdue for revisiting. MICKEY 17 is surely one of the more anticipated films this year as Bong Joon-Ho movies have officially reached event status.

A COMPLETE UNKNOWN, the Timothee Chalamet-as-Bob Dylan biopic, is also making its German debut this weekend as part of the festival. And HOT MILK, the adaptation of Deborah Levy’s acclaimed novel starring Emma Mackey and Vicky Krieps, is one of the first Competition titles to come out the gate this year, with its first screening on Friday night at the Berlinale Palast. Another anticipated Competition title, making its debut on Sunday, is LA TOUR DE GLACE (THE ICE TOWER), the newest film from the French auteur Lucile Hadžihalilović, starring Marion Cotillard, as well as Hadžihalilović’s husband, Gaspar Noe. Cotillard starred in the director’s 2004 debut feature, INNOCENCE, and it’s always a treat to dive back into Hadžihalilović’s unsettling dream world. This one, about a runaway girl who finds refuge on a reality-bending film set, might be the Competition title I’m most eager to see.

If tickets to these films prove hard to come by, I can recommend a few titles from the other sections that are screening this weekend. In the Forum section there’s a bittersweet comedy called FWENDS from Australian director Sophie Somerville. It reminded me of Richard Linklater’s Before Trilogy as it mostly involves two friends spending one day and night walking around Melbourne and talking about their lives. What starts as a typical odd couple scenario – uptight Em is starting a law career while Jessie is a carefree pothead – gradually turns into something deeper and more unpredictable. There’s an improvisational vibe to the movie that might rub some people the wrong way, but by the end I was quite fond of these two confused, funny, insecure young women. They contain multitudes.

Speaking of movies where we just spend time with two people talking to each other, I absolutely adored the Panorama title PETER HUJAR’S DAY, by American director Ira Sachs. The film uses the transcript of a recorded conversation between the writer Linda Rosenkrantz (Rebecca Hall) and the photographer Peter Hujar (Ben Wishaw). Rosenkrantz wanted to make an entire book where she talked to various artists about what they did yesterday. So the movie is just that, Peter Hujar talking about what he did on a day in December 1974, which involved photographing Allen Ginsberg, getting an early morning phone call from Susan Sontag, and dealing with friends who want to use his shower. Almost by accident, it feels like they’re pondering the meaning of existence itself. If you’re like me and enjoy podcasts of two artists engaging in a deep conversation with one another, this might be your ideal cinematic comfort food. It’s also beautifully shot on grainy film stock and expressively edited, almost like an experimental film at times. Sachs takes full advantage of the setting New York City sun to wrap the conversation in warm, glowing light. And at 75 minutes, it doesn’t overstay its welcome.

Like Hong Sangsoo, the American filmmaker James Benning seems to have something for nearly every Berlinale these days. For this edition, he brings LITTLE BOY (in the Forum section), which takes a series of pop songs and key speeches from American history and juxtaposes them against the making of miniature models of factories and buildings. There’s also a model of “Little Boy,” the name of the first nuclear bomb that was used in WWII. Benning’s movies are always meditative and while they can sometimes test your patience, they inevitably reward you for sticking with it. Sometimes, as with LITTLE BOY, the reward is some righteous indignation and frustration over our failure to learn from history.

Finally, if you’re more in the mood for an absurd comedy, you might want to get a ticket for Amalia Ulman’s MAGIC FARM (in the Panorama section), starring Chloë Sevigny, Alex Wolff and Joe Apollonio. In her follow-up to 2021’s EL PLANETA, Ulman takes us to a village in Argentina where a hapless video documentary crew tries to make the best of a disastrous production. While it does play into some ugly American (or is it ugly Millennial?) stereotypes, it turns into a much weirder and sweeter movie by the end. MAGIC FARM should be a breakout movie for Joe Apollonio, who is hugely charismatic and had me cracking up in every scene he’s in – especially in his wonderfully awkward romance with the middle-aged single dad who runs the hotel they’re staying at. Unlike the black and white photography of EL PLANETA, MAGIC FARM is bright, colorful, and constantly in motion, using a variety of video sources. It can be aggressive at times, but like FWENDS, as the story goes on the characters open up and it turns out there’s a lot of warmth under the surface.

Sean Erickson