The Berlinale Competition Lacked Convincing Offerings

The Berlinale, one of the world’s most prestigious film festivals, has for the second consecutive year awarded its top honor to a documentary film. This year, the Golden Bear was bestowed upon “Dahomey” by Mati Diop. The film delves into the history of the kingdom of Dahomey, currently known as Benin, and explores the cultural significance of 26 historic objects that have been lent to the Musée Quai Branly in Paris until 2021. The film is not focused on the objects that have been restituted to Germany, but rather the ones that remain in France.

The narrative of the film is centered around a wooden statue of King Ghézo which is used to give the documentary a fictional framework. The statue, being transported in a crate, contemplates its journey and questions its relevance in modern-day Benin. Throughout the film, the viewers are privy to public debates in the erstwhile royal city of Abomey, where a museum has been constructed to house the art objects. These debates, involving the public and art historians, delve into the symbolism and significance of these statues, and the impact of their repatriation. For some, the return of these objects bolsters national pride, while others see it as a hollow gesture considering the thousands of objects that remain in European museums. Yet others question if these objects truly represent the predominant culture of the country.

It could have been worse

Regrettably, as is often the case with awards of this nature, the victory of “Dahomey” seems more focused on its political content than its artistic merits as a piece of cinema. Nonetheless, considering the competition, the outcome could have been worse. The festival’s highlights were not part of the competition. Though some hidden gems may have been found in other sections like Encounters, the Panorama, or the Forum, the competition as the prime section should have the highest density of quality entries.

Other notable winners included Mathias Glasner, who was awarded the best screenplay for “Die”, a film featuring a complex mother-son relationship, and Martin Gschlacht, who won the prize for best camera for his film “Des Teufels Bad”. The latter film tells the story of a young woman’s struggle in 1750s Austria and is lauded for its stunning visuals and atmospheric storytelling. The award for best supporting role went to Emily Watson for her portrayal of a cold, manipulative Mother Superior in “Small Things like These”, and the best leading role was won by Sebastian Stan for his role in “A Different Man”.

Nice, but inconsequential

Some of the awarded films, however, were puzzling choices. Korean filmmaker Hong Sangsoo was awarded the Grand Jury Prize for his film “A Traveler’s Needs,” featuring Isabelle Huppert wandering through Seoul providing peculiar French lessons. The film lacks a clear narrative and even the filmmaker was unsure why his film was chosen, stating during his acceptance speech, “I don’t know what you saw in my film.”

Another surprise winner was Nelson Carlos De Los Santos Arias, who won the directing award for his film “Pepe”, a film featuring a hippopotamus swimming through Medellin, a plot point that is left unexplained to the viewer. The film’s narrative is delivered by the hippopotamus, providing a unique but ultimately punchline-less joke. Despite its unusual narrative, “Pepe” was not the sole film in the competition with a confusing plot.

“Architekton”, another documentary in the competition, is a thought-provoking examination of the cycle of construction and destruction, but fails to delve into its central question of why people no longer build for eternity. Other films, such as “Shambhala” from Nepal, had promising premises but fell short in their execution.

Questions were also raised about the selection of films for the competition, such as the Danish entry “Vogter”, which seemed to have been chosen due to a lack of other Scandinavian cinema. The film, about a prison guard who torments a prisoner who killed her son, was criticized for its lack of subtlety and predictability.

This year marked the end of the tenure for the current Berlinale management, artistic director Carlo Chatrian and managing director Mariette Rissenbeek. The new festival director, Tricia Tuttle, was introduced at the ceremony and will take over for the next edition of the festival. As the festival moves forward, it is hoped that the new leadership will bring a fresh perspective and a renewed focus on quality cinema.

As the Berlinale transitions into a new era under Tuttle’s leadership, there is hope for renewed energy and focus on the festival’s prime objective – to celebrate and honor quality cinema. As Matthias Glasner’s daughter wisely advised during his acceptance speech for the best screenplay, one should always listen to their heart.