Berlinale 2022 – Constraints, freedoms, vulnerabilities
Compared to last year’s edition, when, due to the obvious implications of the pandemic, the festival was held in a short virtual form, this year’s outing of the Berlin International Film Festival (the 72nd) wanted to attempt returning to a possible normality. The Berlinale took place under a hybrid form, with in-person screenings and galas, while a few of the festival’s essential segments, such as the European Film Market and Berlinale Talents, were held online. If, in January, the Rotterdam Film Festival also made its selection available on an online platform, the Berlinale opted for a version in which the press had to either physically attend the festival or to hope that distributors would be as kind as to offer them screeners. As such, before one could rejoice at the fact that one could finally return to the state of mingling between the audience and the industry, let us remember that we are still in the grips of the pandemic, even in spite of its apparent decline. For many journalists, the critical situation of the last few months didn’t make a trip to Berlin seem that appealing, and I have to admit that even my own stay at the festival was clouded by the thought that I haven’t made the right choice for myself in terms of health, no matter the many, hefty measures that were taken by the organizers. Furthermore, a Covid scare considerably shortened my days at the festival, which is why I returned from Berlin with a short, condensed experience and a slightly broken heart.
Graduated with a BA in film directing and a MA in film studies from UNATC; she's also studied history of art. Also collaborates with the Acoperisul de Sticla film magazine and is a former coordinator of FILM MENU. She's dedicated herself to '60-'70s Japanese cinema and Irish post-punk music bands. Still keeps a picture of Leslie Cheung in her wallet.
