On Thursday, the Marlene-Dietrich-Platz became the epicentre of global culture as the 75th Berlin Film Festival kicked off, a celebration that, beyond being a cinematic event, is a platform for reflection, style and subversion. The snow-covered red carpet provided the perfect backdrop for the stars of European and international cinema to shine, from established names to up-and-comers.
The stunning Tilda Swinton, a name that seems to transcend the boundaries of cinema and has already established herself as one of the most iconic figures on screen, was the star of the evening. She received the Honorary Bear, an award that recognises the magnificence of her career and the depth of her artistry. Edward Berger, director of Nothing New in the West and Oscar winner, had the honour of paying tribute to the Scottish actress with a personal letter that, with precision and admiration, reflected the essence of one of the great legends of modern cinema.
With disarming modesty, Swinton took the stage to accept the award, but not before delivering words of reflection and humanism. In her speech, she emphasised her close connection to Berlin and the Berlinale, celebrating the relevance of independent film in a world increasingly marked by threats and grievances. ‘Being for something never means being against someone. But being for human solidarity means being for human solidarity with all people,’ he said.
The ceremony continued with the presentation of Tricia Tuttle, the new president of the festival, who, like Swinton, stressed the importance of mutual listening and unity in times of polarisation. A message that served as a prelude to the presentation of this year’s international jury, headed by Todd Haynes, who will soon begin his task of choosing the films that will shine in the official competition.
The highlight of the evening was the announcement of the opening film: The Light, the long-awaited return of Tom Tykwer, the German director and screenwriter, who has not presented a feature film in nine years. The film promises to be a profound reflection on urban life, consumption and the injustices inherent in the globalised system. Tykwer, as only he knows how, presents a visually captivating narrative, but also a mirror that forces us to question the present.
While we discovered the great revelations of this Berlinale, we couldn’t help but look to the opening red carpet, where cinema and fashion became vehicles of expression and social critique. From sophisticated gowns to avant-garde looks, the evening was filled with moments of pure haute couture, further proof that cinema, at its most artistic, is not only expressed through images, but also through form and aesthetics.
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