The Besieged Golden Bear: How the Berlin Film Festival Marginalized Gaza Films?

The Berlin International Film Festival has historically distinguished itself as the most outspoken among European festivals in embracing political issues. However, the current seventy-sixth edition has sparked widespread controversy regarding a shift in this legacy. Critics argue that the festival, under the leadership of its director Tricia Tuttle, is pursuing a policy of 'systematic exclusion' of politically charged films that advocate for Gaza, by confining them to side sections such as 'Forum' and 'Panorama', and isolating them from competition for the Golden Bear award.

This transformation began to crystallize clearly during the 2024 and 2025 editions, following fierce political reactions in Germany to statements and films addressing the Palestinian-Israeli conflict. Critic Peter Bradshaw warned that Berlin is entering a phase where cinema is effectively censored through institutional pressure, at a time when German cultural bodies are struggling to reconcile freedom of expression with a strict political consensus on the Palestinian issue.

This tension was embodied in the current edition through the exclusion of prominent works from the official competition, such as Anat Even's film 'The Collapse', which addresses the ethical consequences of the destruction of Gaza and was screened in the 'Forum' section, and Assaf Machnes's film 'Where To?', which was screened in the 'Panorama' section. Despite the festival management's emphasis on the importance of these sections, journalistic sources indicated that only official competition films receive media coverage and global exposure, which Gaza films are deprived of.

Despite the absence of official recognition of political motives, budgetary pressures emerge as a crucial factor; Tuttle warned of a significant funding gap threatening the 2027-2028 editions, necessitating 'difficult prioritization'. This climate has pushed some filmmakers to resist, such as Ghanaian director Ayo Tsalithaba, who withdrew his film 'Joy Arrival' in protest of the German stance, considering that the institution no longer upholds universal human values.

Critical opinions were divided regarding the 2026 edition, whose jury is headed by director Wim Wenders; while some defend the diversity of artistic forms, international newspapers believe that Berlin has become 'more cautious' than the Cannes and Venice festivals. It seems that the festival, once a symbol of cinematic resistance, now prefers to protect its prestigious awards from political confrontation, which places the future of the 'Golden Bear' before existential questions about its ability to reward courage in the face of institutional threats.

In the festival economy, the placement of films in competition represents power, and their displacement to the margins constitutes structural marginalization.