“Soumsoum, la nuit des astres”, présenté en compétition officielle au Festival de Berlin 2026, capte l’essence d’un monde où le surnaturel et les traditions millénaires s’entrelacent. Le film raconte l’histoire d’une amitié entre deux femmes, en toile de fond d’un village du Tchad, où croyances ancestrales côtoient la modernité. Réalisateur Mahamat-Saleh Haroun dépeint avec authenticité la coexistence de ces univers, souvent mystérieux et imprévisibles, qui marquent la vie quotidienne des habitants.

Le film met en lumière la lutte contre l’exclusion dans une société patriarcale, où les femmes, perçues comme porteuses de traditions, jouent un rôle clé. La protagoniste, qui possède des pouvoirs invisibles, incarne une résistance silencieuse face à l’oubli et à l’effacement des légendes ancestrales, souvent bannies par l’arrivée des religions révélées. La réalisatrice souligne également la peur du pouvoir face à l’invisible, illustrée par l’importance du surnaturel dans la vie et la mort.

Les paysages envoûtants du site classé à l’UNESCO nourrissent une atmosphère magique, où montagnes et rochers deviennent des parties intégrantes des croyances populaires. La nature elle-même apparaît comme un témoin silencieux de traditions ancestrales, renforçant l’idée que le film est aussi l’évocation d’un équilibre fragile entre l’homme, la nature et le spirituel.

“Soumsoum, la nuit des astres” offre une lecture profonde des croyances et de la culture tchadienne, tout en soulignant la puissance féminine comme vecteur de résistance et de transmission. Ce film résonne comme un appel à la préservation des traditions face au poids du changement et à l’oubli.

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Presented in competition at the 76th Berlinale,  “Queen at Sea” by Lance Hammer delves into the emotional landscape of dementia through the caregivers’ perspective, offering a fresh and compelling take on a  often explored theme. Through the eyes of Juliette Binoche‘s character we have a new perspective on the matter.

“Queen at Sea” uniquely centers on the experiences of those caring for loved ones with dementia, shifting the usual focus from the patients themselves. The film emphasizes the clarity and reliability of the caregivers’ voices, highlighting the emotional suffering and complexities they face. This approach provides viewers with a raw, authentic understanding of the caregiving journey, emphasizing the opacity of the dementia patient and the emotional toll on those surrounding them. The film’s emphasis  reflects the tumultuous and often confusing world caregivers navigate. By portraying their perspective, the film vividly captures the sense of helplessness and the search for meaning amid uncertainty. It’s a poignant reminder of the resilience required to care for loved ones through the decline of memory and identity.

Maintaining a delicate balance between realism and sentimentality was central to create the authentic emotional experience of “Queen at Sea”. Lance Hammer employed extensive workshopping and improvisation with actors to develop truthful, relatable characters, ensuring that performances conveyed genuine emotion without tipping into overly sentimental territory. This meticulous process aimed to keep the film grounded, allowing audiences to connect deeply with the characters’ inner worlds. The editing phase was critical in refining the tone, with the director rigorously removing scenes that risked veering into sentimentality. The goal was to evoke deep human emotion while preserving authenticity. Subtle, truthful portrayals are essential, and the film carefully navigates this line to avoid emotional manipulation, ensuring that the audience feels moved without feeling overwhelmed by sentimentality.

“Queen at Sea” also examines how memory resides within the body, especially in dementia, illustrating how bodily memories and instincts can persist even when cognitive functions fade. A notable example is the portrayal of a character engaging in sexual activity, highlighting the disinhibition that can occur with cognitive decline. The film raises questions about agency, consent, and the nature of memory, emphasizing the complexity of human experience near the end of life. Furthermore, the film weaves a parallel storyline involving a niece discovering her own sexual identity, symbolizing the cyclical nature of life, desire, and family trauma. This second plot underscores the interconnectedness of familial experiences across generations, suggesting that life’s themes—such as sexuality—are part of a shared family psyche. By exploring these intertwined narratives, “Queen at Sea” offers an overarching view of life, loss, and renewal, emphasizing that even in the midst of decline, there is hope, beauty, and the possibility of new beginnings.

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At the 76th Berlinale, Austrian filmmaker Markus Schleinzer presents his new film “Rose” in Competition. Starring a stunning Sandra Huller, “Rose” is a period drama rooted in a centuries-old court record and shaped by meticulous historical excavation.

In the interview, Schleinzer traces the project’s origins to an unexpected moment. “It was my birthday,” he recalls, “and a friend called to congratulate me. She’s a historian, and by coincidence she was reading a crime file about a woman who had been executed on that exact day 250 years earlier.”

The charge was “sodomy. “Female homosexuality had not been invented then”, Schleinzer notes, underlining the absurdity and violence of legal language. The case sparked his curiosity. What followed was an extended research journey into women across centuries who dressed as men for survival, for work, to avoid forced marriages, to follow loved ones into war, or to claim social and economic agency denied to them.

“The motifs were different,” he explains, “but the outcome was always the same: the desire for freedom, to define one’s own life.”

Schleinzer describes research not as preparation but as immersion and occasionally, as a trap. After the rapid trajectory of his debut, Michael (2011), which premiered in Competition at Cannes, his subsequent projects took seven and eight years, respectively. “I love research,” he admits. “Sometimes I get completely lost in it and forget that the goal is to write a script.”

For “Rose”, that meant delving into archival material, historical documents, and iconography.

Equally formative was his study of Dutch Golden Age painting. Travelling through museums in the Netherlands, Schleinzer photographed works depicting not emperors or aristocrats, but ordinary citizens. “They painted themselves. You can see poverty, you can see daily life.” In The Hague, he encountered imagery that felt strikingly proto-Western: cattle, horses, carriages, leading him to reflect on how European visual culture shaped what would later become the American Western genre. That influence subtly informs Rose, where genre echoes coexist with historical realism.

The title carries layered meaning. “It is a metaphor,” Schleinzer confirms. The name recalls his grandmother, Rosa, but also evokes the flower at its most beautiful precisely when it has been cut and placed in a vase. “You watch it vanish,” he says. The image resonates with a character whose assertion of identity is both an act of vitality and a confrontation with mortality.

Schleinzer has long been attentive to names. In Michael, the protagonist’s name suggested self-deification, “the one who positions himself as God.” With “Rose”, the symbolism is less theological but equally deliberate.

If Rose chronicles acts that may appear revolutionary, Schleinzer resists the temptation to frame his protagonist as a hero. “I don’t believe in heroes,” he states. In an era shaped by political regression and polarised rhetoric, he questions narratives that rely on singular saviours, a sentiment that extends to mainstream cinema’s superhero mythology.

“We all should stand up and speak up,” he argues. “It’s not heroes or politicians out there. It’s us.”

For Schleinzer, storytelling that divides characters into purely good or bad fails to reflect lived reality. “I’m good, and I’m bad sometimes,” he says. The tension between personal egoism and political consequence defines Rose herself: not a conscious revolutionary, but a woman whose private acts carry radical implications.

The relationship between Rose and Susanna resists easy ccategorization Love story? Political alliance? “I’m not sure we can label it so simply,” Schleinzer reflects. What interests him most is the shifting dynamic of power between them, particularly a scene in church, where Susanna, newly empowered by conforming to social expectations, performs her status with calculated visibility.

“It’s about power,” he says. In German, he references the term Kappentausch, the exchange of caps, suggesting that change often begins as a reversal rather than a transformation. True coexistence, he implies, emerges only when the need to dominate subsides.

With “Rose”, Schleinzer constructs a historical narrative that speaks directly to contemporary anxieties: the fragility of rights, the normalisation regression, and the quiet courage required to resist both. In Competition at the Berlinale, the film stands as a meditation on identity, not as a declaration, but as a daily negotiation.

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Kornél Mundruczó is back into the competition of an A-level festival with “At the Sea”, competing for the Golden Bear at the 76th Berlinale.

The Hungarian director was in Venice competition back in 2020, with his first English-language film, “Pieces of a Woman” starring Vanessa Kirby, is back at directing an english language feature. In “At the Sea”, Amy Adams is playing the lead role as a woman trying to get back on her feet and rebuilding her own life also into her family dynamics after rehab.

“At the Sea” begins where other films would usually end. It focuses on the aftermath of a woman’s rehab journey—a woman who has always been the head of the family, carrying the weight of a business on her shoulders and the burden of a difficult legacy, like her father’s.

That weight has kept her from truly being a partner to her husband and has made her an absent mother. “At the Sea” follows its protagonist—an Amy Adams who is “unbelievably brave,” to quote the director—on a path that leads her to look back, through memory and gaze, at her past, in order to embrace the little girl she never managed to be.

As director Kornél Mundruczó points out, “At the Sea” is also a film that reflects on what it means to be a mother, to be a parent, and how that role forces you to confront the shortcomings of those who raised you, as well as the traumas of a childhood—sometimes denied, as in the protagonist’s case.

Set against the backdrop of a family summer, the narrative explores the emotional and psychological upheavals that come with facing one’s history and making peace with it. The film’s focus on this transformative phase makes it a relatable and poignant portrait of resilience.

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Presented at the 76th Berilnale, “Gugu’ s world” explores the innocence, dreams, and emotional bonds of a young boy.  The story highlights universal themes of family, love, and bravery, making it resonate across diverse cultures and ages. Set in a small Brazilian community, “Gugu’s world” by director Allan Deberton offers a vivid glimpse into childhood innocence and the protective love of a grandmother, emphasizing the importance of connection and personal growth.

“Gugu’ s world” centers on Gugu, a 12-year-old who aspires to become a football player amid the challenges faced by his family and community. The director Allan Deberton emphasizes that the emotional core of the film transcends regional borders, showcasing love, family, and courage that resonate worldwide. The setting in rural Brazil becomes a microcosm reflecting broader human experiences, illustrating how local stories can appeal to global audiences.

One of the film’s central elements is the relationship between Gugu and his grandmother Dilma. Director Allan Deberton prioritizes visual storytelling to communicate nuanced feelings and unspoken emotions through powerful imagery. The cast, chosen from over 600 children, brings authenticity and sensitivity to narrative arc of the film.

The soundtrack combines classic hits with contemporary Brazilian music, emphasizing universal themes through a uniquely Brazilian musical palette.

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Presented at the 76th Berlinale, “The education of Jane Cumming” by director Sophie Heldman revisits a historic scandal in early 19th-century Edinburgh. The film sheds light on themes of gender, class, and societal norms that remain relevant today, offering viewers a both educational and emotionally resonant experience.

The film explores a real 1810 scandal in Edinburgh involving Jane Pirie and Marianne Woods, two women who opened a girls’ boarding school. The film highlights how their lives were drastically impacted after accusations of a forbidden relationship emerged. Central to the narrative is the court case that was sealed away for years, serving as a time capsule into women’s lives and their fight for independence. Director Sophie Heldman emphasizes how thw narrative focuses on the importance of education as a means for women to carve out space for themselves in a rigid society.

The significance of the historical context

“The education of Jane Cumming” delves into the social and legal norms of the early 1800s, a period marked by strict reputation management and gender roles. The film reflects on how societal pressures influenced individuals’ lives, especially women, who struggled with issues of visibility, exclusivity, and love. It draws connections between past and present, evoking how social media and cancel culture echo the importance placed on reputation centuries ago.

A key aspect of the film is the portrayal of the relationship between the two women, which evolves amidst social scrutiny and personal discovery. Director Sophie Heldman worked closely with actors to authentically depict the emotional shift from initial friendship to a deeper bond, set against the backdrop of societal constraints.  The film offers a nuanced view of intimacy, identity, and resilience that continues to resonate in contemporary conversations about equality and social norms.

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Presented at the 76th Berlinale, “Nina Roza” by Canadian director Geneviève Dulude-de Celle explores the meaning of artistic identity in contemporary art and in cinema too, but also themes such as immigration and personal relationship.

The story of Nina Roza was inspired by director time living in Eastern Europe and her encounters with migrants and exiled individuals. These experiences fostered a desire to explore themes of homeland, belonging, and the emotional stakes tied to returning to one’s roots. The film also references a viral case about a child painter, inspiring the fictional meeting between a returning artist and a prodigious young talent, which serves as a centerpiece for examining artistic and personal identity.

Central to “Nina Roza” is the exploration of what it means to be an artist today. The film highlights the innocence and sincerity of early artistic expression, drawing parallels between the child painter’s pure creative gesture and the filmmaker’s own journey. Dulude-de Celle discusses how art is intertwined with commerce and how the process of creating and financing can influence artistic purity. This reflection underscores the film’s examination of how external factors shape an artist’s pursuit of authenticity and the ongoing quest for genuine self-expression.

“Nina Roza” also explores the dynamics of personal relationships, particularly between a father and his daughter, as well as mentorship and trust within the artistic community. The encounter between characters like Mihail and Roza serves as a mirror for understanding different perspectives on identity, belonging, and emotional vulnerability. The film emphasizes how meaningful connections and dialogues can lead to greater sensitivity and awareness of oneself and others, and the importance of support, belief, and open exchange in fostering personal and artistic growth.

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Presented at the 76th Berlinale, “Truly Naked” by director Muriel d’Ansembourg stands out as a provocative and compelling narrative that pushes boundaries to explore complex themes of family, sexuality, and authenticity. The film’s title perfectly captures its essence, exposing vulnerability and raw human emotion. This film bravely delves into controversial territory, prompting viewers to question perceptions of intimacy and connection in the digital age.

In “Truly Naked”, the characters embody contradictions that challenge stereotypes and highlight authentic human struggles. Actor Andrew Howard describes his portrayal of Dylan as a man grappling with aging, financial hardship, and the desire for meaningful connection, despite his work in a controversial industry. Andrew Howard emphasizes that beneath these external façades lie genuine emotions and nuanced personalities, making the characters in “Truly Naked” multifaceted and deeply relatable.

Alessa Savage’s performance in “Truly Naked” shines through her portrayal of Lizzie, capturing the delicate balance between professionalism and vulnerability. Her background in expressing sexuality through film informed her approach, allowing her to convincingly depict emotional engagement while maintaining authenticity. The focus on emotions and psychological depth ensures that “Truly Naked” offers a powerful reflection on human intimacy, cementing its place as a groundbreaking piece of cinema that encourages viewers to look beyond stereotypes and see the true humanity within each character.

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Presented at the 76th Berlinale, “Truly Naked” by director Muriel d’Ansembourg offers a provocative look into the complexities of sexuality and emotional intimacy. The film’s title reflects its unfiltered approach to these sensitive themes, immersing viewers in the intimate world of a teenage protagonist navigating a challenging environment. This compelling story pushes boundaries, revealing both the vulnerabilities and resilience of its characters.

“Truly Naked” distinguishes itself through its fearless portrayal of taboo subjects often avoided on screen. By focusing on a young protagonist influenced by his exposure to the family production of adult entertainment content, the movie challenges conventional narratives about adolescence and sexuality. Director Muriel d’Ansembourg‘s work is known for exploring uncomfortable truths in surprising settings, and “Truly Naked” continues this tradition with sensitivity and depth. Its honest depiction invites viewers to confront their perceptions and prejudices surrounding intimacy and growth.

In bringing “Truly Naked” to life, careful preparation was essential to handle its sensitive content with care. The cast engaged in extensive discussions about boundaries, working with intimacy coordinators to ensure comfort and consent during filming. Director Muriel d’Ansembourg emphasized the importance of creating a safe environment, allowing performances to feel genuine without crossing ethical lines. This dedication to authenticity is evident in the compelling performances, particularly in how the characters’ internal struggles are portrayed, supporting the film’s powerful message about real emotional connection.

Throughout “Truly Naked“, the journey of discovering genuine intimacy is portrayed with honesty and nuance. The film’s ability to depict the intricacies of adolescence and personal boundaries makes it a significant contribution to contemporary cinema, opening up conversations about the importance of empathy and understanding in human relationships.

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In “Dao”, presented at the 76th Berlinale, director Alain Gomis balances moments of celebration with instances of mourning, reflecting the natural rhythm of life as described by the concept of Dao. The depiction of a wedding alongside a funeral ritual demonstrates how joy and grief coexist within cultural traditions. The film uses this duality to evoke a deeper understanding of identity and heritage, showcasing how these ceremonies serve as both homage and affirmation of life’s cyclical nature.

The concept of Dao serves as a central theme in the film, symbolizing ongoing movement, balance, and the interconnectedness of life. In cinema, it often guides the narrative rhythm, emphasizing the importance of harmony amid chaos. Films inspired by the Dao typically explore cycles of life, death, and renewal, creating a fluid storytelling arc that reflects this philosophical principle.

“Dao“, by director Alain Gomis exemplifies this approach by weaving together ceremonies and rituals that highlight both celebration and grief. The interconnectedness of these emotional tones mirrors the Dao’s core concept that life is a continuous flow of contrasting yet complementary forces.

The rhythm of the film aligns with the dao by emphasizing listening, intuition, and presence on set and in editing. Director Alain Gomis suggests that filmmakers must “hear” the footage and scenes rather than impose a rigid narrative, allowing the natural flow of the images and sounds to shape the story. This organic process results in a cinematic piece where the truth resides in the spaces between scenes, creating a resonant and authentic emotional experience.

The director’s personal connection to the themes of memory and heritage deeply influences the portrayal of rituals in “Dao“. Personal memories, such as the filmmaker’s own family ceremonies, are woven into the film’s fabric, providing authenticity and emotional depth. This approach ensures that the depiction of cultural practices is both respectful and layered, honouring individual stories while addressing universal themes of belonging and identity.

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