The Berlinale has always had a hard time with its opening films. One recalls with horror last year's ‘Das Licht’ (The Light) by Tom Tykwer, in which a Syrian psychotherapist, who is only allowed to work as a cleaner in Germany, treats a dysfunctional Berlin family. This year, it is Afghan director Shahrbanoo Sadat, living in Germany, who opens the festival with her film ‘No Good Men’. The film centres on a camerawoman in Kabul who works for a news channel and has to stand up to the condescending comments of her male colleagues.
Her feminist self-confidence has so impressed festival director Tricia Tuttle that she describes Shahrbanoo Sadat as ‘one of the most exciting voices in world cinema’. Her film is compelling because of its 'message' and shows ‘real people’. What more could you want at the Berlinale, which likes to emphasise its claim to be a 'political' festival?
'No Good Men' is a likeable film, but simply too small to function as an opening film. The actors are not professionals, which is why some scenes come across as an amateur performance. The director's decision to take on the lead role herself was also ill-advised. Many of the dialogues convey their message in such a didactic manner that they offer no surprises. Humorous interludes, such as a scene in which a friend gives the protagonist a dildo because she is now separated from her husband, were warmly received by the audience. Two earlier films by Shahrbanoo Sadat were screened in Cannes in the sidebar series “Quinzaine”, while in Berlin, “No Good Men” is being shown in the “Berlinale Special” section and does not hold up as an opening film.
A documentary about Afghan aid workers who, despite binding commitments, are stuck in Pakistan or have in some cases already been deported to Afghanistan because the German government is not honouring its agreements and promises would have been more exciting. Interior Minister Dobrindt speaks of necessary ‘individual case reviews’, even though these have long since taken place. That would have been a politically relevant film, but it might have spoiled the festive mood of the prominent figures from politics and cultural administration.
12 years ago in ‘Zwischen Welten’ (Between Worlds) Feo Aladag dealt with the topic of Afghanistan and Germany's involvement in the 20-year war against the Taliban in a more complex way. The film, which came away empty-handed at the 2014 Berlinale awards ceremony, met with little enthusiasm from German critics at the time. Feo Aladag clearly addresses the precarious situation of local aid workers with a high degree of authenticity and realism, not least because it was made on location in Afghanistan.
To serve as jury president Wim Wenders interrupted editing his documentary about the Swiss architect Peter Zumthor for two weeks. At the jury press conference during the festival's opening, he described cinema and politics as separate spheres. ‘We have to do the work of the people, not the work of politicians. Politics is not empathetic, but films are,’ he said. This is a distinction that can be generally agreed on in the case of feature films, whereas documentaries in particular can be an ideal medium for addressing political conflicts.
As far as the competition is concerned, there are few well-known names. One can look forward to the German-Turkish entry ‘Gelbe Briefe’ (Yellow Letters) by İlker Çatak, the American production ‘At the Sea’ by Hungarian Kornél Mondruzcó, starring Amy Adams, and the Kurdish story ‘Kurtuluş’ by Emin Alper. Hardcore fans of the Berlin School can delight in Angela Schanelec's new film ‘Meine Frau weint’ (My Wife Is Crying), while Sandra Hüller plays the lead role in the Austrian entry ‘Rose’ by Markus Schleinzer. Few stars, hardly any well-known directors – that's the provisional picture of the competition. Munich-based distributor Tobias Lehmann (Alamode) sees little potential for cinema release in the films. ‘There may be a few surprises, but on paper the competition looks pretty thin.’