In We Have to Survive, Tales from Greenland, Australia, North Carolina and Mongolia show how the world is united in one thing: the threat of climate change.
We Have To Survive Contemplates a World in Crisis
Festivals
Reviews and dispatches exploring the best new cinema premiering around the world.
Ukrainian Rhapsody in 16mm
Filmed over the course of ten years, Pieter-Jan De Pue’s documentary Mariinka is one of the best films made about the Russian invasion of Ukraine.
Dad Genes Has No Spunk
Dad Genes has a brilliant premise — a man in his 50s reconnecting with his sperm donor children — but is derailed by perfectly middle-of-the-road filmmaking.
Sad Girlz Does It Well
Fernanda Tovar’s Sad Girlz is a touching tale of female friendship under the shadow of sexual violence — the winner of Berlinale Generation 14Plus.
The Beautifully Barmy Unidentified Nonflying Objects (UNO)
Unidentified Nonflying Objects is another freewheeling and deeply weird animated gem from the mind of Russian animator Sasha Svirsky.
Journey Into Berlinale 2026
Mini-takes on films seen at the Berlinale, from almost every section, letting you know what to keep an eye on — and what to avoid!
A Few Small Beers
Hong Sangsoo’s latest film, The Day She Returns, is even more minimalist than usual, using just a handful of scenes to create a spare poem of differences.
Shot Reverse Shot. Jewish Life at the End of the Ceaușescu Regime.
Radu Jude and Adrian Cioflâncă’s latest documentary Shot Reverse Shot continues their vital archival work of the Jewish Romanian experience.
A Russian Winter’s Lost Generation
Patric Chiha’s A Russian Winter is a minor work, but a nonetheless rewarding one: capturing exiled Russian youth in a tragic holding pattern.
I Want To See You Truly Naked
Muriel d’Ansembourg’s taboo-breaking drama explores the way pornography can change who we are, in often finger-wagging ways.