The Berlinale is a unique place of artistic exploration and entertainment. It is one of the largest public film festivals in the world, attracting tens of thousands of visitors from around the globe.
The Berlinale brings the big stars of international cinema to Berlin and discovers new talents. It accompanies filmmakers of all disciplines on their paths into the spotlight and supports careers, projects, dreams and visions.
The Berlin International Film Festival enjoys an eventful history. The festival was created for the Berlin public in 1951, at the beginning of the Cold War, as a “showcase of the free world”. Shaped by the turbulent post-war period and the unique situation of a divided city, the Berlinale has developed into a place of intercultural exchange and a platform for the critical cinematic exploration of social issues.
To this day it is considered the most political of all the major film festivals.
Check out the award winners and stay tuned as the next cycle for the year’s best films has just begun!
A New Screening Venue and a Festival Hub at Potsdamer Platz for the 75th Anniversary Edition of the Berlinale Festival
The Berlinale is revitalising the festival’s home at Potsdamer Platz with two new venues close to the Berlinale Palast and the CinemaxX and in close proximity to the European Film Market at Gropius Bau.
The Stage Bluemax Theater at Marlene-Dietrich-Platz will become a new premiere screening venue for the next edition. Once adapted, the venue will offer a seating capacity of approximately 500 seats, and will host screenings over the entire festival period. The new venue will become the home of the newly created Perspectives first feature competition, as well as hosting key premieres from other Berlinale sections.
In addition, with the Berlinale HUB75, a temporary festival hub will be built at Marlene-Dietrich-Platz. HUB75 will host a series of free morning talks and events for public audiences, as well as providing a networking space for industry and filmmaker guests. More details on the public and industry programme schedules will be announced in January.
Tricia Tuttle
“Since the closure and redevelopment of key cinemas in 2022, Berlinale has missed some of its former presence and buzz around our centre in Potsdamer Platz. These new venues are part of our longer term plans to recreate a more readily walkable festival heart, and inject additional energy and visibility back into this central hub,” says Tricia Tuttle, Festival Director.
With the closure of some key screens in the area and with the reduction in capacity at other venues, the festival has lost approximately 150,000 screening seats around Potsdamer Platz. These seats could be compensated for by other Berlinale venues, but the goal remains to offer more options on the square again.
The new plans will facilitate professional work and networking for Berlinale’s industry audiences, while also creating new access for public audiences.
Now that the construction work around the Berlinale Palast has been almost completed, the festival can make better use of the square in its new design. The redesign enables more opportunities for encounters.
All venues of the Berlinale 2025 will be published in December.
Spain Becomes the European Film Market’s “Country in Focus” at the 75th Berlinale in 2025
Spain will be the “Country in Focus” at the upcoming edition of the European Film Market. Its many filmmakers make Spain a dynamic and strong European film location with international appeal, as well as a long-standing and successful tradition of numerous films in the festival programme as well as at the EFM and in the Berlinale’s industry initiatives.
Continuing an initiative that started in 2017, the EFM annually places a major film region in the spotlight with its “Country in Focus” programme. The country’s film industry and creative work will be presented from a multifaceted point of view, new stimulus will be provided, and international connections promoted. After Mexico, Canada, Norway, Chile, the Baltic States and Italy, the “Spain in Focus” programme will examine the Spanish film scene and offer numerous opportunities for dialogue with producers, distributors, investors and film industry experts across the entire genre spectrum – from animated film to drama and series.
Tricia Tuttle
“Spanish filmmaking has enriched the Berlinale programme for decades. Many hundreds of Spanish productions, created by outstanding and acclaimed talents, have dazzled audiences and juries alike, with nine films having won the festival’s highest accolade, the Golden Bear for Best Film: Carla Simón’s beautiful Alcarràs in 2022 being the most recent of these. Pedro Almodóvar also has an important place in Berlinale history, since his world premiere of La ley del deseo won the very first TEDDY AWARD as it premiered in Panorama in 1987. Through the years, the Berlinale has welcomed countless distinguished Spanish filmmakers as jury members, festival guests and emerging talents. We are so looking forward to celebrating the Spanish film industry at the upcoming European Film Market,” says Festival Director Tricia Tuttle.
Spain is firmly committed to the expansion of sustainable film production and forward-looking digitalisation of the film sector. Thanks to attractive tax incentives and subsidies, the EFM 2025 focus country is also in great demand as a film location for international co-productions. In addition to the well-known film locations, Madrid and Barcelona, regions such as the Basque Country, Catalonia, Galicia, the Canary Islands and Andalusia also enjoy a vibrant film industry with unique regional features.
Tanja Meissner
“The Spanish film and media industry has solidified its reputation and global acclaim to become a European powerhouse thanks to creative excellence, targeted investments, and technological innovations, enjoying a strong international presence with high-quality content and originality,” Berlinale Pro* Director Tanja Meissner commented. “The country offers competitive tax incentives, co-production agreements, and a strong industry infrastructure.”
Ernest Urtasun
“The European Film Market is, without a doubt, one of the most powerful platforms for European cinematography and Spain being a ‘Country in Focus’ will allow us to make visible the enormous talent of the Spanish industry in all its areas: creation, production, distribution and the global positioning of our cinema. That is the task and pride of this Ministry of Culture: to support and make known our film industry, our creators, and to allow Spanish cinema to continue growing, as it already is, in the global market and among viewers around the world”, says Spanish Minister of Culture Ernest Urtasun.
The European Film Market will take place from February 13-19, 2025, in the context of the 75th Berlin International Film Festival.
Todd Haynes to be Jury President of the Berlinale 2025
The US-American director, screenwriter and producer Todd Haynes will be President of the International Jury of the 75th Berlin International Film Festival.
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“Todd Haynes is a dazzlingly gifted writer and director with an impressive range; his body of work is at once stylistically versatile but also unmistakably his. Ever since his debut feature Poison won the TEDDY AWARD in 1991, the Berlinale has followed and loved his filmmaking, and we are overjoyed to have him join the festival as the President of the International Jury for our 75th edition,” says Berlinale Director Tricia Tuttle.
Tricia Tuttle
Over nearly 40 years, Todd Haynes has been one of the most bold and distinctive filmmaking voices in US-American cinema, beloved for his great sensitivity in exploring the interior worlds of outsiders and women, and his fascinating investigations into gender and identity.
His skill at creating complex characters has attracted many of the world’s finest actors. Stars such as Julianne Moore, Cate Blanchett, Rooney Mara, Kate Winslet, Anne Hathaway, Natalie Portman, Mark Ruffalo, Christian Bale and Ewan McGregor have played the multi-layered characters in his films. Todd Haynes’ films and their actors have won awards at numerous international film festivals.
Emerging into international prominence in the early 1990s as part of a thrilling new generation of US-American directors (dubbed “New Queer Cinema” by critic B. Ruby Rich), by the time of his four-time Oscar nominated film, Far from Heaven (2002), Haynes was fully established as a major force in US filmmaking. His feature film debut Poison received the TEDDY AWARD, the queer film prize at the Berlinale, in 1991, and won the Grand Jury Prize at the Sundance Film Festival. Other key works include Safe (1995), Velvet Goldmine (1998), the fictional Bob Dylan biopic I’m Not There (2007), which won the Grand Jury Prize in Venice, the mini-series Mildred Pierce (2011), Carol (2015), Wonderstruck (2017), Dark Waters (2019), The Velvet Underground (2021) and May December (2023).
The Retrospective of the 75th Berlin International Film Festival will be “Wild, Weird, Bloody”: the offbeat and the wacky, mix it up with action, thrills, and graphic visuals in 15 selected genre films from East and West Germany made in the 1970s.
Dr. Rainer Rother, head of the Retrospective and Artistic Director of the Deutsche Kinemathek, says: “A longstanding preconception says that Germans can’t do genre. But in fact, early German cinema laid a groundwork that was influential in the international development of fantasy and science fiction moviemaking. And even beyond that, both auteur filmmakers and commercial productions were drawn to genre films over the decades. Our Retrospective showcases pictures, made amid other film currents such as New German Cinema that embraced the appeal and played with the possibilities of a good genre flick.”
Influenced by the wave of exploitation films of the era, the 1970s are a treasure trove of offbeat movies that followed new narrative and aesthetic paths. It was a decade when a generation of young directors took their shot and tested the boundaries between the genres. With Deadlock (FRG, 1970), Roland Klick served up a mixture of post-apocalyptic gangster film and psychedelic western. That same year, Hans W. Geißendörfer turned his sights on the horror genre with his commanding vampire film Jonathan (FRG, 1970). West German filmmakers had counterparts in East Germany, such as Horst Bonnet, with his unusual adaptation of the operetta Orpheus in der Unterwelt (Orpheus in the Underworld, GDR, 1974), and Günter Reisch’s satire Nelken in Aspik (Cloves in Aspic, GDR, 1976). The section will also be showing films by directors such as Rainer Erler, Klaus Lemke, Ulli Lommel, and Wolfgang Petersen, expanding the Retrospective 2025 to include genres such as the biker film, thriller, and musical.
“Modern audiences eagerly embrace genre cinema and enjoy tracing crime, science fiction, horror and other genre roots all the way back to the earliest days of the form. This selection of deep thrills and blood spills offers so many discoveries, and shines a light into new corners of German cinema. We cannot wait to share it with audiences, local and international”, comments Berlinale Director Tricia Tuttle.
The complete line-up for “Wild, Weird, Bloody. German Genre Films of the 70s” will be announced in December 2024. During the Berlinale, the Retrospective screenings will be complemented by a series of event at E-Werk, the new home of the Deutsche Kinemathek.
Feature-length films: Nov 4, 2024
Short films: Nov 13, 2024
Due to the large number of submissions shortly before the deadline for feature-length films, there may currently be temporary server downtimes. To ease the technical load, the deadline for feature-length films has beenl been extended until November 4, 2024.
The Berlinale is looking forward to receiving your submission. In order to submit a film to the Berlinale you first need to complete and send in the online submission form linked below. Thereafter, you’ll find the upload link for the selection screener in your personal account. Both the completed submission form and the selction screener will need to reach the Berlinale within the stated deadline. Notification of the results of the selection process will take place as soon as possible, at the latest by the beginning of 2025.
Before you start, the festival asks you to carefully read its General Guidelines for Submission and Participation as well as the additional regulations of the individual sections and consult the FAQs if you have any questions. You can find an overview of the most important submission requirements below.
Deadline for submission: November 4, 2024 for feature-length films / November 13, 2024 for short films
Processing fee: €175 feature-length films / €75 short films (regardless of the number of sections you apply for)
Date of completion: within the 12 months prior to the festival. Re-submissions are not eligible.
Premiere Status: world premieres are given priority in all sections, however, the various sections differ in the minimum requirement of the premiere status (see sections overview below and the respective guidelines of each section).
Accepted formats for selection: file upload in mp4 format (H.264, AAC, Stereo) – see technical specifications. Selection screeners may not be exchanged with updated versions once uploaded. The film version that is submitted should at least have reached the stage of picture lock.
Formats for festival presentation: DCP or QuickTime ProRes. 35mm and other formats only upon request. See technical specifications.
Further information on the submission process:
One entry form must be filled out for each film. You may submit to multiple sections with only one application.
A film entry can only be finished successfully if your browser supports the use of “cookies”. For information regarding the handling and storage of your data, please see the Privacy Policy.
You can save any ongoing registration process in your account, and return to it later for completion and submission within the stated deadline. In addition, you can use the “Back” and “Next” buttons to check or change your registration data at any time prior to sending it off.
The submitted data will be made available for download in PDF format after the completion of your registration. Subsequent changes can only be made by the festival – please email programme@berlinale.de clearly stating the film number you have been assigned during registration if you discover you want to change the information about your film after you have completed the submission process.
The outcome of the selection process will be emailed to the email address given on the submission form as soon as a final decision has been made by all the sections involved.
“We – festival workers, artists, filmmakers … – think fondly of our friends in Ukraine and we are by their side in a call for peace.
One week ago, the Berlin International Film Festival was celebrating a complicated yet successful edition. Filmmakers, artists, and journalists from all over the world gathered in Berlin to enjoy a collective and joyful experience. The feeling of being together again, with no distinctions of nationality, religion, or culture, transported us in a way that film festivals can accomplish.
While these memories remain fresh, other images have broken into our lives, bringing a darker perspective. The world is on a verge of a huge crisis. As a showcase of the free world, the Berlinale has always put at its center the notion of freedom and the will to bridge East and West.
Throughout its history, the Berlin International Film Festival has had the opportunity to showcase films relating to Ukrainian history and culture in all sections of the festival, recently, this year’s Klondike by Maryna El Gorbach and Terykony by Taras Tomenko, Oleg Sentsov’s Numbers in 2020, back to the films of Kira Muratova and the early short films of Myroslav Slaboshpytsky, and many more.
Films cannot change society and the course of history, but they can help in changing the minds of people. Films are telling us that the world is already in a too precarious condition to add even more suffering and destruction.”
The 72nd Berlin International Film Festival wrapped successfully with numerous audience screenings. On the last day of the festival, Berlinale director duo Mariette Rissenbeek and Carlo Chatrian bid farewell to the audience at the Cineplex Titania cinema (former Titania-Palast) – the very setting in which the festival was held for the first time in 1951.
Despite the ongoing pandemic, the Berlinale 2022 was able to take place as an in-person festival in compliance with a strict hygiene and security concept, and the organizers were delighted with the lively interest shown by the public and trade visitors. Due to the pandemic, only 50 percent of seats in the cinemas were occupied. This stipulation was enthusiastically accepted and a total of 156,000 tickets were sold. The Berlinale also took to the spotlight as a media event.
Iris Berben featured on the Red Carpet and Big Screen at the 2022 Berlinale Opening Gala (Photo cr. Berlinale)
The 2022 festival took place in a different format: From February 10 to 16, film teams from abroad presented their films to the public and accredited audiences at the premieres.
On the evening of February 16, the festive Award Ceremony festive took place in the Berlinale Palast, culminating in the presentation of the Golden Bear to Alcarràs (director: Carla Simón). From February 17 to 20, the public had an opportunity to see the Berlinale films in repeat screenings during the “Publikumstage” (“audience days”).
Carlo Chatrian, left, and Mariette Rissenbeek
“The successful conclusion of the Berlinale 2022 gives us great pleasure and confidence for the future. Sharing a cultural experience is possible even in times of pandemic; indeed, it becomes especially important then. We intended to fly the flag for cinema with this year’s festival, and we were thrilled to receive so much support for this from audiences and filmmakers alike,” commented Mariette Rissenbeek and Carlo Chatrian.
While the festival was able to take place in person, the European Film Market (EFM), the Berlinale Co-Production Market, Berlinale Talents, and the WCF Day of the World Cinema Fund were realized primarily as online formats.
At the WCF Day on February 16, 2022, the panels and discussions focused on the development of funding and decolonization strategies. With its differentiated funding program, the World Cinema Fund has been working to promote cultural diversity, cooperation, sustainable development, and the promotion of cinema in regions with weak film infrastructures since 2004, and thus aims to contribute to the democratization of international filmmaking.
Check out the recording of WCF Day 2022!
In addition, 1,438 pre-arranged and specially planned individual meetings with interested co-producers and financiers took place at the Berlinale Co-Production Market for the feature film and series projects selected in 2022. Three cash prizes were awarded to new projects. The pitching events “Co-Pro Series” and “Books at Berlinale” as well as the talk formats were also very popular with the 574 participants. Alcarràs by Carla Simón was the second former Berlinale Co-Production Market project to win the Golden Bear. In 2019, the project had already won the Eurimages Co-Production Development Award.
The online edition of the European Film Market (EFM) of the 72nd Berlinale came to a successful conclusion on February 17 and Berlinale Talents also looked back on a successful 20th-anniversary edition.
The 73rd International Film Festival Berlin will take place from February 16 to 26, 2023.
(Press release provided by Berlinale Press Office)
The members of the 2022 International Jury, M. Night Shyamalan (President), Karim Aïnouz, Anne Zohra Berrached, Tsitsi Dangarembga, Ryusuke Hamaguchi, Connie Nielsen and Said Ben Saïd award the following prizes:
Golden Bear for Best Film
(awarded to the film’s producers)
M. Night Shyamalan (Photo: Gage Skidmore, CC BY-SA 3.0)
M. Night Shyamalan (South Asia / USA) – Jury President
Screenwriter, director, and producer M. Night Shyamalan has been captivating audiences worldwide with his genre films over the past three decades. His impressive filmmaking includes 14 feature films as a cinema director. His breakthrough, the 1999 psychological thriller The Sixth Sense starring Bruce Willis, was the second highest-grossing film of that year and received six Academy Award nominations. He then released a string of blockbusters with Unbreakable (2000), Signs (2002), and The Village (2004). The Visit (2015) was the most successful horror film of 2015. He could repeat this success with his next film Glass (2019). Shyamalan has also had an equally successful start in the TV sector in 2015 with the 10-episode event series Wayward Pines for FOX, based on the best-selling novels. Currently, Shyamalan serves as showrunner for the award-winning series Servant for Apple TV+. He has also directed several episodes of the series. His latest cinema film Old, which is based on the graphic novel “Sandcastle” was released internationally in cinemas in summer 2021. He is currently working on his next cinema film, Knock at the Cabin, which will be released in February 2023.
Karim Aïnouz
Karim Aïnouz (Brazil / Algeria)
Karim Aïnouz first studied architecture in Paris and Brasilia before doing a degree in film studies at New York University and gaining practical experience as an assistant director for Todd Haynes. His feature film debut Madame Satã premiered at Cannes in 2002, later O Céu de Suely (Love for Sale, 2006) and Viajo Porque Preciso, Volto Porque te Amo (I Travel Because I Have To, I Come Back Because I Love You, 2009) screened in Venice. Aïnouz is also a regular guest at the Berlinale: in 2014, with Praia do Futuro (Futuro Beach) was shown in Competition; at the same time, Cathedrals of Culture ran in Berlinale Special, where he was one of six directors. His two documentaries Zentralflughafen THF (2018), awarded the Amnesty International Prize, and Nardjes A. (2020) were both shown in Panorama. His feature film A Vida Invisível (Invisible Life) won the main prize in Un Certain Regard section at Cannes in 2019, and two years later his autobiographical work O Marinheiro das Montanhas (Mariner of the Mountains) also screened at the Croisette.
Saïd Ben Saïd
Saïd Ben Saïd (France / Tunisia)
Saïd Ben Saïd is a French-Tunisian film producer, founder, and chairman of SBS Productions. His large output of 40 films includes films directed by Paul Verhoeven, David Cronenberg, Roman Polanski, Brian De Palma, Nadav Lapid, Philippe Garrel, Walter Hill, Alain Corneau, Kleber Mendonça Filho, André Téchiné and Ira Sachs. Recent releases include David Cronenberg’s Maps to the Stars with Julianne Moore who won Best Actress in Cannes in 2014, Paul Verhoeven’s Elle which was awarded Best Foreign Picture at the 2017 Golden Globes, Nadav Lapid’s Synonyms which won the 2019 Golden Bear at the Berlinale and Kleber Mendonça Filho’s Bacurau which received the 2019 Jury Prize in Cannes. His latest production is Paul Verhoeven’s Benedetta, which premiered in the Competition at Cannes 2021. In 2015, Ben Saïd founded his distribution company SBS Distribution and his international sales arm SBS International to service his own productions.
Anne Zohra Berrached
Anne Zohra Berrached (Germany)
Anne Zohra Berrached, born in Erfurt in 1982 as the daughter of a German and an Algerian, first studied social pedagogy and worked as a theatre pedagogue in London before turning to filmmaking. After her first own short documentary film Der Pausenclown (2009), she studied at the Filmakademie Baden-Württemberg. Her first feature-length film Zwei Mütter (Two Mothers) was awarded the section prize in the Perspektive Deutsches Kino at the Berlinale in 2013, and three years later 24 Wochen (24 Weeks) ran for the Golden Bear in the Competition. The film was awarded the German Film Award in Silver and received the GUILDE Film Award. Berrached, who usually has professional actors act together with amateurs in her films and focuses on the greatest possible authenticity, presented her most recent film Die Welt wird eine andere sein (Copilot) in the section Panorama of the Berlinale in 2021. In addition to her cinema work, the filmmaker has directed three highly acclaimed Tatort episodes.
Tsitsi Dangarembga
Tsitsi Dangarembga (Zimbabwe)
Zimbabwean filmmaker and writer Tsitsi Dangarembga studied at Cambridge and the University of Zimbabwe before coming to Berlin to study directing at the German Film and Television Academy. As a screenwriter or director, she has been involved in several of her home country’s cinematic milestones, including Neria (1991), Flame (1996), Everyone’s Child (1996) and I Want a Wedding Dress (2011). In 1992, she founded her own production company, Nyerai Films, and in 2003, the International Film Festival for Women in Harare, which also gave birth to the African Women Filmmakers’ Development Hub. She is also one of the co-founders of the Institute of Creative Arts for Progress in Africa (ICAPA) Trust. Dangarembga’s most recent novel “This Mournable Body”, was shortlisted for the Booker Prize in 2020, which belongs to a three-part series including “Nervous Conditions” (1988) and “The Book of Not” (2006). In 2021, she was awarded the “Friedenspreis des deutschen Buchhandels“ as well as the PEN Pinter Prize and the PEN International Award for Freedom of Expression.
Ryûsuke Hamaguchi @Berlinale
Ryûsuke Hamaguchi (Japan)
Ryûsuke Hamaguchi’s episodic film Gûzen to sôzô (Wheel of Fortune and Fantasy) premiered in the Competition at the Berlinale in 2021, where it won the Silver Bear Grand Jury Prize. In the same year, he also received the Best Screenplay Prize for an adaptation of Murakami’s Doiraibu mai kâ (Drive My Car), which premiered at the Cannes Film Festival. Hamaguchi’s graduation film Passion from the Tokyo University of the Arts was screened at the San Sebastián Film Festival in 2008. This was followed by the feature film The Depths and the documentary Tōhoku Trilogy (Nami no oto (Sound of the Waves), Nami no koe (Voices from the Waves), Storytellers), which he directed together with Ko Sakai between 2011 and 2013. His international breakthrough came in 2015 with Happî awâ (Happy Hour), which celebrated its world premiere in Locarno. Three years later, he was invited to the competition in Cannes with Netemo sametemo (Asako I & II). In addition to his directing work, he also wrote the screenplay for Kiyoshi Kurosawa’s Supai no tsuma (Wife of a Spy), which won the Silver Lion for Best Director at Venice in 2020.
Connie Nielsen
Connie Nielsen (Denmark / USA)
Connie Nielsen was born in Denmark where she started her career on stage alongside her mother in political Revue and Variety shows. She moved to France and Italy as a young woman to continue her studies and further her acting career internationally. Once in the US, she starred in Ridley Scott’s Oscar winner Gladiator (2000), Mission to Mars (2000) by Brian de Palma, and Basic (2003). She first appeared in a Danish production for Susanne Bier’s Brothers (2004) for which she was nominated for the European Film Award, among others, and received Best Actress awards in San Sebastián and the Danish film prize The Bodil. Nielsen has also worked with directors such as Olivier Assayas (Demonlover, 2002) and Lars von Trier (Nymphomaniac: Vol.1, 2013) and appeared in blockbusters such as Wonder Woman (2017) by Patty Jenkins and Zack Snyder’s Justice League (2021). Most recently, she was a lead actress and executive producer on the British series Close to Me (2021). Nielsen is also the founder of the organization’s Human Needs Project and Road to Freedom Scholarships.
The Panorama Audience Awards Go to Baqyt (Happiness) and Aşk, Mark ve Ölüm (Love, Deutschmarks and Death)
Film stills of Baqyt (Happiness) and Aşk, Mark ve Ölüm (Love, Deutschmarks and Death)
The audience has voted: The 24th Panorama Audience Award for the best feature film goes to Baqyt (Happiness) by Askar Uzabayev. Aşk, Mark ve Ölüm (Love, Deutschmarks and Death) by Cem Kaya wins in the category Panorama Dokumente. The prizes are awarded by the Berlinale section Panorama together with radioeins and rbb television (Rundfunk Berlin-Brandenburg).
Film still of Baqyt (Happiness)
In the film Baqyt, the main character wears orange for her job as an influencer and a broad smile. The “Happiness” brand is her doctrine, but her home is a dark place where brute force has ruled for years. This film shows us what it costs to escape the trap of misogyny.
Aşk, Mark ve Ölüm (Love, Deutschmarks and Death)
Cem Kaya’s dense documentary essay Aşk, Mark ve Ölüm (Love, Deutschmarks and Death) celebrates 60 years of Turkish music in Germany. An alternative post-war history that is at the same time a musical Who’s Who – from Yüksel Özkasap to Derdiyoklar and Muhabbet.
The award-winning feature film will be shown on Sunday, February 20, at 6 pm, the winner of the Panorama Dokumente at 9 pm. Both screenings will take place at Zoo Palast 1.
The Panorama Audience Award has been bestowed since 1999. As of 2011, both the best feature film and the best documentary have been honoured. During the Berlinale, all cinema-goers are invited to rate the films in the Panorama section on a voting card. In total around 8,000 votes were cast and evaluated.
This year, Panorama presented a total of 29 feature films from 33 production countries, ten of them were in Panorama Dokumente.
Panorama Audience Award Winner – Feature Film 2022:
Baqyt (Happiness)
Kazakhstan
by Askar Uzabayev
2nd Place Panorama Audience Award Winner – Feature Film 2022:
Klondike
Ukraine / Turkey
by Maryna Er Gorbach
3rd Place Panorama Audience Award Winner – Feature Film 2022:
Fogaréu
Brazil / France
by Flávia Neves
Panorama Audience Award Winner –Panorama Dokumente 2022:
Aşk, Mark ve Ölüm (Love, Deutschmarks and Death)
Germany
by Cem Kaya
2nd Place Panorama Audience Award Winner – Panorama Dokumente 2022:
Nel mio nome (Into My Name)
Italy
by Nicolò Bassetti
3rd Place Panorama Audience Award Winner Panorama Dokumente 2022:
