Irish Film Institute -IFI AT BERLIN FILM FESTIVAL 2026

IFI AT BERLIN FILM FESTIVAL 2026

Dave O Mahony, IFI’s Head of Cinema Programming, takes a look back at an exceptionally politicised Berlin Film Festival.

I’ve long ago given up the habit, practiced in my early days of attending the Berlin Film Festival, of compiling lists of films I hope to see and drafting schedules of when and where that might happen. Such aspirational endeavours become almost immediately worthless; the ticket gods care not for one’s plans, and while I naturally have an advance hit list of titles I hope to check off, the order and location of viewing is determined on site, by the whims of the online ticket portal, which opens for the following two day’s screenings at 7.30am each morning, with availability diminishing rapidly thereafter.

This randomised approach has been adopted partly because the Berlinale is so sprawling (Cannes and Venice are comparatively compact), with screening venues scattered across the city, meaning that viewing choices are frequently made in relation to distance between locations (the excellent public transport system is helpful in this regard), and partly because the programme is so dizzyingly enormous with far more films available than one could ever hope to consume in ten days across its Competition, Panorama, Perspectives, Forum, Special, and Generations strands. Hence, the element of chance is a key component of what makes the festival so special.

Attending the festival was, as ever, an invigorating reminder of the scale and vitality of international cinema culture. Berlin remains unique among major festivals in the extent to which it integrates public audiences with industry professionals. Unlike Cannes and Venice, Berlin presents an expansive public programme that is open to anyone with a ticket, with multiple daily screenings across several venues and a range of ticket price points designed to encourage broad participation.

Beyond the screenings, the European Film Market remains one of the key reasons for attending the festival. Meetings with sales agents, distributors and fellow programmers were fruitful; several titles that premiered in Berlin will undoubtedly play well to IFI audiences, and the early conversations around Irish premieres were invaluable.

One of the most talked-about aspects of the 2026 Berlinale was the political controversy that unfolded off-screen, ignited by comments made by jury president Wim Wenders. At the opening press conference, when asked about the German government’s support for Israel amid the ongoing conflict in Gaza, Wenders stated that filmmakers “cannot really enter the field of politics,” arguing that cinema operates differently from direct political action, remarks many attendees found surprising at an event historically known for its political engagement. Throughout the festival, debates about the intersection of art and politics continued, with some filmmakers using their awards platform to address global issues and others defending artistic autonomy, making it one of the most politically charged editions in recent memory.

As for my highlights, I’m delighted to report that Everybody Digs Bill Evans, an Irish co-production written by Mark O Halloran, which explores a period of creative hiatus in the life of the renowned jazz pianist, is terrific. Congratulations to its director, Grant Gee, who took home the Silver Bear for Best Director. The great Sandra Hüller was another worthy winner for her exceptional performance in Markus Schleinzer’s multilayered period drama, Rose. Josephine, which premiered at Sundance in January to rapturous response, and features a revelatory turn from Channing Tatum, was another standout in the main competition.

In terms of unapologetically old-fashioned entertainment, I will single out The Weight, in which a grizzled Ethan Hawke must smuggle gold across an impenetrable wilderness at the height of the Great Depression. Of the many documentaries I saw, The Ballad of Judas Priest, a thoroughly delightful, empathetic, and inclusive chronicle of the band’s 50-plus year journey to global stardom, was a disarming joy.

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