Berlinale 2018: “Touch Me Not” Triumphs, Sparking Debate

The international jury, chaired by German director Tom Tykwer, awarded the Golden Bear to “Touch Me Not,” a compelling blend of fiction and documentary exploring intimacy and sexuality. This film also received the Best First Feature Film prize. Poland’s “Twarz,” directed by Małgorzata Szumowska, earned the Grand Jury Prize, while the Alfred Bauer Prize for innovative filmmaking went to Paraguayan director Marcelo Martinessi for “Las herederas.” Wes Anderson’s “Isle of Dogs” secured the Silver Bear for Best Director, and Ana Brun (“Las herederas”) and Anthony Bajon (“La prière”) received accolades for Best Actress and Best Actor respectively. The Silver Bear for Best Screenplay recognized Manuel Alcalá and Alonso Ruizpalacios for their work on Ruizpalacios’ Mexican film, “Museo,” with Elena Okopnaya earning recognition for artistic contribution to “Dovlatov” for her costume and set design. Ruth Beckermann’s Austrian documentary “Waldheims Walzer” and Ines Moldavsky’s Israeli short film “The Men Behind the Wall” also secured top honors in their categories. Independent jury prizes were awarded to Thomas Stuber’s “In den Gängen” (Ecumenical Jury) and “Las herederas” (FIPRESCI International Critics’ Prize). The Berliner Morgenpost Readers’ Jury selected “Dovlatov” as their favorite. The awards ceremony, held on Saturday evening, culminated in the announcement of “Touch Me Not” as the Best Film, generating significant discussion. The festival itself presented a mixed bag of films, showcasing both surprising talent and works deemed less deserving of inclusion. German cinema made a strong showing with four entries, including Christian Petzold’s impactful “Transit,” a reflection on Europe’s past and present. While Thomas Stuber’s “In the Aisles” and Emily Atef’s “3 Days in Quiberon” were well-received, Philip Gröning’s “My Brother’s Name Is Robert and He Is an Idiot” provoked a divided response. Erik Poppe’s Norwegian single-shot film “U – July 22,” a powerful depiction of the Utøya massacre, stood out as a surprising highlight. Wes Anderson’s “Isle of Dogs” received widespread praise, confirming his considerable talent. Lav Diaz’s ambitious “Season of the Devil” offered a potent reflection on Philippine history, dividing audiences yet cementing his unique cinematic voice. Gus Van Sant’s “Don’t Worry” delivered mixed results, while Benoît Jacquot’s “Eva” featuring Isabelle Huppert was deemed underwhelming. The Berlinale 2018 was marked by controversy surrounding nominations, particularly those concerning German cinema, leaving the festival director, Dieter Kosslick, facing criticism for perceived lack of support for national films. The festival’s selection of four German films, including one as jury president, did not translate to wins despite the merit of films such as Emily Atef’s “3 Days in Quiberon” and Thomas Stuber’s “In the Aisles.” Italian entries, “Daughter of Mine” and “The Land of Plenty,” both failed to win awards. The 2018 Berlinale ultimately left critics and cinema enthusiasts with a sense of unfulfilled potential, raising hopes for a stronger showcase of emerging talent in future editions.