Berlinale, one of the largest public film festivals in the world and one of the “big three” European film festivals, is fast approaching. Every February, two weeks in this modern, open-minded yet historic city hosts our beloved international film festival.
Established in 1951 at the beginning of the Cold War, it was originally intended as a “showcase of the free world” for the Berlin public. Much like Berlin’s renowned electronic music scene – shaped by post-war turbulence and its divided history – Berlin International Film Festival has grown into a hub for intercultural dialogue and a platform for critical cinematic exploration of social issues. Even today, it remains the most political voice of all major film festivals.
Berlinale has historically been an important international stage for Chinese filmmakers, with several winning top awards over the years. Notable past winners include Red Sorghum (1987), Woman Sesame Oil Maker (1993), The Wedding Banquet (1993), Black Coal, Thin Ice (2014), So Long, My Son (2019).
This year, 12 Chinese films have made to Berlinale.
Two Chinese films have secured spots in Berlinale’s prestigious Competition section, vying for the Golden Bear, awarded for the Best Film: Living the Lang (Sheng xi zhi di) by Huo Meng and Girls on Wire (Xiang fei de nv hai) by Vivian Qu, both centred on personal stories amid the rapid changing society of mainland China.
Queerpanorama by Jun Li, Silent Sparks by Ping Chu, two films from Hong Kong and Taiwan which spotlight LGBTQ+ group are selected for Panorama strand, known for highlighting queer, feminist and unconventional films in contemporary international cinema.
Eel (He man) by Chu Chun-Teng has been nominated for the Perspectives section, where emerging filmmakers from around the world make their presence.
A Story about Fire (Ran Bi Wa) by Li Wenyu and The Botanist (Zhi Wu Xue Jia) by Jing Yi are running in the Generation section, a selection telling stories about children and teenagers.
Extracurricular Activity (Ke wai huo dong) by Dean Wei, Xu Yidan is nominated for Berlinale Shorts.
Fruit Farm (Guochang) by Nana Xu, The Trio Hall by Su Hui-yu, What’s next? by Cao Yiwen will be screening in the Forum section, known for its experimental and boundary-pushing themes.
The Goddess (Shennü) by Wu Yonggang will have its world premiere of the digitally restored version in the Berlinale Classics section, bringing the silent classic back to the big screen.
With 12 Chinese films spanning across multiple sections, Berlinale 2025 once again proves to be an essential gateway for Chinese cinema on the global stage. From politically charged narratives to deeply personal storytelling, this year’s lineup reflects the evolving landscape of Chinese filmmaking.
As Berlinale continues to embrace diverse and indie voices, how will these films resonate with international audiences and critics? Will any of them bring home major awards? One thing is certain – new Chinese filmmakers are gaining prominence, shaping the future of cinema.
