Ethan Hawke He is not only one of the biggest stars of this year's Berlinale, but also one of the festival's most beloved actors, having presented all three installments of the Linklater's Trilogy, Boyhood and, just a year ago, Blue moonfor which he is nominated for an Oscar. But even he was caught up in the controversy this Tuesday during the presentation of his new work, the magnificent adventure film. The weight, because of the controversy surrounding this edition: the absence of a condemnation from the Berlinale regarding the genocide in Palestine and the power struggle between the press and the festival management regarding the questions that demand an explicit stance from creators on hot political issues

They're not always well executed, but there are many interesting ideas in them. The momentThe film presented this Saturday at the Berlinale features singer Charli XCX playing a fictionalized version of herself. This decision creates a curious tension and ambiguity, because the film draws on the singer's recent biography, but manipulates and alters it through the mechanisms of fiction. "I've spent my whole life preparing for this role, I'm very much a method actor," Charli XCX joked at the Berlinale, explaining that the film stems from the "extreme leap" she experienced when her last album, Brato, It became the album of the summer of 2024. "I went from being an artist who moved on the fringes with an almost exclusively gay audience to suddenly having a massive audience. I felt like I was losing control of something I had always been able to control, and that made me think about how we communicate art and how we communicate art and.

"You know the expression for better or worseWell, I'm entering the phase for bad of my life," says the protagonist of Blue moon, presented this Tuesday at the Berlinale. The phrase could serve as a summary of the vital moment of Lorenz Hart that he tries to capture Richard Linklater in this film about one of the greatest lyricists of American popular music of the 20th century, who formed a successful tandem with composer Richard Rodgers: My funny valentine or the same Blue moon are two of hundreds of songs they created until Hart's alcoholism pushed Rodgers to seek out a more reliable lyricist, Oscar Hammerstein. The night in 1943 in which the film is set Blue moon It is precisely the premiere of the musical Oklahoma!, Rodgers' first collaboration with Hammerstein, a stratospheric success that, in some way, closed the door to resuming the Rodgers & Hart tandem.

The last few weeks have not been easy for you. Michel Gondry. After having filmed a musical based on Pharrell Williams' childhood, Golden, one of the most anticipated releases of 2025, Variety revealed a few days ago that the editing had been cancelled and the film would never be released because the producers and Gondry considered that the material was not up to expectations. To dry the sorrows of such an ambitious and frustrated project, there is nothing better than to present another one at the antipodes: Maya, give me a title, a long animated film that collects the animated shorts stop motion that Gondry has been making for years for his daughter Maya, hand-animated pieces with colored cardboard, scissors, adhesive tape and a smartphone. The French director introduced him to the press at the Berlinale, although he did not accept "questions about Pharrell".

In Marion Cotillard She doesn't hesitate to play with her image as a great diva of modern French cinema. She already did it in the drama Family Matters by Arnaud Desplechin, where she played a proud actress entrenched in her hatred towards a writer brother, and now she returns to the role of a famous actress in The Ice Tour, by the French Lucile Hadzihalilovic, a modern and perverse reinterpretation of the tale The Snow Queen by Hans Christian Andersen which was presented this Sunday in the competition of the Berlinale.

Angela and Hector have created an almost perfect world. Their love is a shell of affection and trust that makes them invincible, or so it seems until motherhood endangers this bubble of happiness. The story sounds familiar, almost universal, but director Eva Libertad adds a component that changes everything: Angela is deaf and Hector is not. The Catalan production Deaf, which premieres this Saturday in the Panorama section of the Berlinale, takes as its reference the point of view of Ángela, who is played with absolute dedication by Miriam Garlo, the director's sister and the first deaf actress to star in a film in Spain. "Society does not educate us to relate to difference or disability," says Libertad. "If I know anything about deafness it is because Miriam is my sister. It is as if, without knowing it, we had been preparing all our lives to make this film."

Angela and Hector have created an almost perfect world. Their love is a shell of affection and trust that makes them invincible, or so it seems until motherhood endangers this bubble of happiness. The story sounds familiar, almost universal, but director Eva Libertad adds a component that changes everything: Angela is deaf and Hector is not. The Catalan production Deaf, which premieres this Saturday in the Panorama section of the Berlinale, takes as its reference the point of view of Ángela, who is played with absolute dedication by Miriam Garlo, the director's sister and the first deaf actress to star in a film in Spain. "Society does not educate us to relate to difference or disability," says Libertad. "If I know anything about deafness it is because Miriam is my sister. It is as if, without knowing it, we had been preparing all our lives to make this film."

An audience booing the musician they idolize because he dared to play the electric guitar. Many do not need any further information to identify the characters and the context of the scene: it is the concert of Bob Dylan at the Newport Festival in 1965, the day the musician staged his resignation from being the voice of a social movement and claimed his artistic freedom with the electric sound of the guitar and the verses of fury and spite of Maggie's farm. In the most purist temple of American folk, the patron saint of the new protest song came out to play with a rock band and the audience reacted first with stupor and then with tears and indignation. It was one of those moments about which piles of articles and books are written, a tectonic shift in popular culture and, all of it, a simple aesthetic choice: how an artist wants his music to sound.

When she was eight years old, Tilda Swinton (London, 1960) saw a film that "changed her life." In fact, at that moment she thought "it was a dream, not a movie." It is the first version of Powers of ten, a scientific short by Charles and Ray Eames that lasts only 10 minutes and begins with an everyday, almost bucolic sequence: a family having a picnic, with their basket full of food and a tablecloth on the grass. Then, the camera moves away 10 meters, 100 meters, 1,000 meters... "After a while you see the United States, the Earth, the galaxy, and then it comes back to the picnic and the camera enters the man's hand and you see the bloodstream, the nervous system, which I have with Mark Cousins"because it is a film that makes you fall in love with cinema and makes you realise that cinema has no borders," he explained.

"It's such a shock, this is crazy," says Carla Simón (Barcelona, 1986), who speaks to ARA a couple of hours after winning the Golden Bear at the Berlin Film Festival with Alcarràs. The triumph is historic and consecrates her as the great Catalan filmmaker of her generation and one of the main young directors in European cinema today. Her career, fortunately, has only just begun.