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As he explained in an interview with Variety, Dieter Kosslick was relaxed about this appropriation: “‘Everyone has been using our red carpet as a kind of Hyde Park Corner, and I’m happy with this,’ he said, referring to the area in London where speakers share their political views with the crowd.

‘We want to be on the right side of the world,’ he said” (Leo Barraclough, February 18, 2017).

This period piece is set in 1947, the year in which the territory of British India was arbitrarily partitioned into India and Pakistan and the conflicts which burden both countries to this day were irrevocably set in place.

A present-day perspective on the ravages of colonialism was presented by Alain Gomis’ Félicité in which the director follows his titular heroine on her daily struggle for survival in Kinshasa.

Particularly in Berlin, the memory of December 19, 2016, when a perpetrator deliberately crashed an articulated lorry into the Christmas Market on Breitscheidplatz, was still raw.

Interventions The spirit of a post-utopian era and its excesses was not only tangible in the Competition but throughout the festival.

A highly explosive subject matter – for even during the Festival, on February 14, the German-Turkish journalist Deniz Yücel was arrested in Turkey.

Such interventions were numerous and always had their finger on the pulse of the age.

For example, the 2017 edition of the NATIVe – A Journey into Indigenous Cinema special presentation made its focal point the Arctic, a place which, according to climate researchers, will play a decisive role over the coming decades in the survival of humanity and the planet (it seems almost superfluous to mention President Trump’s promise to his supporters that, following his election, he would rescind all the hard-fought climate protection goals adopted by his predecessor Barack Obama).

In Toivon tuolla puolen (The Other Side of Hope), the director tells of an encounter between a Syrian refugee and a Finnish travelling salesman.

The rigorously composed, stoical shots stage the film’s (political) stance in Kaurismäki’s very own humorously melancholic style.

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