By doudou6 
In addition to the two highly anticipated Chinese-language main competition films, “The Habitat” (for which Huomeng won this year’s Best Director Award) and “The Girl Who Wants to Fly,” there are also standout surprises like “Dead Diamond Reflection.” This film, which can be considered Berlin’s equivalent of “Some Kind of Substance” this year, is a culmination of new expressionist cinema. It impresses not only with its overloaded image rates and powerful additive visuals but also with its exploration of the intrinsic meaning of imagery.
The final installment of Haugurud’s “Trilogy of Sexual Dreams,” titled “Trilogy of Sexual Dreams: Dream,” delves into the awakening emotions of an adolescent girl, highlighting intergenerational communication among three generations of women and their familial struggles. Through reading, writing, and interpersonal dialogue, one can garner goodwill or cope with sorrow. The ability to wake from dreams symbolizes self-reflection. While it is plausible that its award recognition stemmed from significant jury disagreements resulting in a compromise (a form of concession), I prefer to believe it offers a much-needed respite for audiences amid the overwhelming global issues.
It appears that Tricia Tuttle has given her tacit approval to Hong Sang-soo’s numerous entries during Carlo Chatrian’s tenure. However, this actually signifies a kind of severance. It’s important to note that this is the first time since Hong Sang-soo has participated in the Berlin International Film Festival’s main competition five times during Carlo’s tenure that he has come away empty-handed. Since 2020, Hong has secured the Best Director Award, Best Screenplay Award, and two Jury Grand Prix at Berlin. Last year, when he won the second prize again at Berlin, Hong publicly thanked Carlo on stage. Perhaps Hong (affectionately known as “the godfather” of the Berlin Film Festival) and his streak with Berlin awards have ended with Carlo’s departure from his position.
The continuous exploration of “women’s cinema” by female filmmakers has been particularly eye-catching at this year’s Berlin Film Festival. Just after attending Sundance, the film “If I Had Legs, I Would Kick You” entered the main competition in Berlin. The film revolves around maternal anxiety within the director’s bold systematic conception, making the actors’ performances the dominant mode. Rose Byrne pushed the energy state of her performance to the extreme in an “impossible to retreat” extreme situation. As the winner of this year’s Best Actress Award, she is undoubtedly deserving of this honor.
“Mother’s Treasure,” on the other hand, has a strong psychological structure as its narrative pivot (details are withheld to avoid spoilers). It transcends the single-track mindset of merely focusing on women’s postpartum depression and anxiety by employing psychological thriller techniques. On a screenplay level, it surpasses any film by Michel Franco (his new work “Dreams” also entered this year’s main competition, but his winning streak at the Big Three festivals ends here).
Finally, I am pleased with director Huo Meng’s award. In “The Land of Living” (《生息之地》), there is a rare “directorless” attempt, where the director deliberately hides his presence and approaches the audience with a self-respecting, broad, and inclusive attitude. This is why “style” can always be copied and imitated, but the creative stance cannot. Through his camera, I saw the relationship between individuals and the nation, the cannibalistic pressure of feudal dross, those unalterable fates, and the uniquely Chinese sense of horror that only older generations understand.
It is not a bad thing that “The Land of Living” brings national films back to the 3.0 level of expression at this time. On the contrary, after “Hidden in the Dust” (《隐入尘烟》), we urgently need such a film to vindicate domestic rural-themed works. It rejects the alienation of rural landscapes and the exploitation or even beautification of suffering, returning simply to a respect for vivid portraits and life itself. Huo Meng has inscribed this responsibility in his film “The Land of Living.”
In conclusion, this year’s Berlin Film Festival has showcased a vibrant and diverse array of films, reflecting both cinematic artistry and contemporary themes. The spotlight now turns to Cannes and Venice Film Festivals, with hopes that they will live up to expectations. We also wish that Tricia Tuttle’s exceptional curation continues beyond this point. Berlin has set an inspiring tone for the year; may it light up the entire cinematic calendar and reignite our passion for movies.