Smiling softly before speaking and walking confidently on the red carpet. If you see a woman at the world-renowned Berlinale Film Festival, who is walking the red carpet with the same smile on the streets with the general public and the world's biggest artists, then you know her as Trisha Tuttle.

She is the director of the Berlinale International Film Festival. Tuttle, an American citizen who has been in charge of the Berlinale since 2024, has 25 years of experience in festivals and film education.

Trisha Tuttle, who has actively worked with BAFTA and many film-related festivals and awards, spoke to Kantipur journalist Reena Moktan about the festival, Nepali relations with the Berlinale, and more. Every year, there are some new changes in the Berlinale. What's new this time? In fact, about 280 new films are selected every year at this festival. The aim of our festival every year is to find out what film is and what it can be. This year, we have introduced a new ticket scheme for viewers aged 18 to 25. Of course, there are young viewers who are already connected to the festival. However, this time we have introduced a ticket scheme for that age group, targeting a new younger audience. Sometimes it becomes difficult to join the festival due to the high ticket prices, but we have implemented such a scheme this year to remove that obstacle, so that it becomes easier to participate in the festival.

After taking over as a director at Berlinale, it seems that women's participation in this festival has increased. Is that your conscious decision or is it just a coincidence?

This year, 41 percent of the films screened at the festival are by female directors. Of course, we do not specify such reservations for women. However, we believe in diversity, so we select films that fit that vision. 33 percent of the films that we apply to are films by female directors. Even reaching 41 percent is a matter of excitement. This year, the films selected for the main competition are films by female directors who are making films for the second and third time.

The sight of elderly audiences queuing up in the freezing cold to watch a film even late at night is not new to Berlinale. What is the link you have taken to increase this kind of audience participation in the festival?

This is actually the specialty of Berlinale. Giving space to diverse and different voices is our identity. Giving space to films with different voices is our identity. We started the ‘Teddy Award’ 40 years ago. This is an award that was started specifically to encourage queer filmmakers. At that time, there was no other festival that gave space to such films and put them in the center of discussion. We started it. Many directors who have shown films on this platform have now become famous in queer films. From Salin Siam’s ‘Tomboy’ to Pedro Almodovar’s ‘Law of Desire’ won the Teddy. We have represented films from many countries on this platform so far. This year, films from 80 countries are being screened. In particular, we do not force such films to maintain balance and make them inclusive. But, we really want to hear different voices. That is why we want to show films that include the communities in the city we live in.

Some people also interpret the Berlinale as a political festival. Does the festival have to be political? If so, why?

We did not claim this ourselves, others said it. The Berlinale has shown films that are controversial and create debate and thought. Some of our film selection decisions are also based on such topics. Again, we live in a city where politics is connected, and art is also connected. So, along with other activities of the festival, this topic also increased my interest in the Berlinale. Berlin itself is a politically and culturally conscious city, so its influence on the festival is felt. In 1982, we screened a film called 'Tootsie' outside the main competition. Chris Marker's 'San Soleil' and this film were films with a completely different perspective. Films with such a different perspective also found a place in the festival, and you will see the continuation of this this year.

Berlinale always includes films and programs that address marginalized and suppressed voices in the festival, why is it necessary for the festival to include this type of genre?

It is absolutely necessary. The Panorama genre does not only include these things. The Panorama genre is a completely audience-oriented program. From here, we also announce the 'Audience Award', so it is for the Berlinale audience. The biggest jury in this genre is our audience. Whether we are selecting films or working in this genre, we do everything with the audience in mind. That is why we always pay attention to who is the narrator and whose story it is. This year, there are 37 films from 36 countries in the Panorama. And this reflects international diversity.

The participation of Nepali filmmakers in Berlinale Talents is increasing. How do you see it?

Yes, I can proudly say that we are a German festival. The world sees us as a European festival. But, we are an international festival. I am proud that we had a film from Nepal in the main competition of Berlinale. And it is a matter of pride for us that this film is in the main competition and that director Min Bham is returning to the international jury. This year, we are also getting a lot of talent from Nepal.

We are hopeful that they will return to the festival after working on their first film. Which is a very important topic. So far, seven Nepali films have been included in our official program between 2012 and 2014.

Would you like to add something about Meen? He is the first Nepali director to have a film selected in the main competition of the Berlinale. And he is a director whose work we like. We saw his short film ‘The Flute’ in Venice. That film was liked there. When he returned here with his second feature film ‘Shambala’, it was a pleasure to see him in the main competition. And I felt at that time that Meen should be invited again. This year, he was part of the international jury led by Wim Wenders. Meen Bham: Berlinale jury stops being a candidate

What does the 25 years of experience of the festival say? After all, why are film festivals necessary for society and communities?

I think festivals are in a special situation now. Today, film festivals are more important than ever. It connects filmmakers from different countries. Nowadays, many films are made in international collaboration between different countries. In this way, collaboration between different countries has also been possible to make good films. For example, this year's 'Sentimental Value' has gained a lot of attention. This film, which was made in international co-production, is competing at BAFTA and Oscars this time. Most of the films we have selected for the main competition were also made in co-production. I think we respect each other. And we value each other's culture. The festival is a place where we still value our culture. Most people have to face financial difficulties to hold a festival in Nepal. Berlinale also faced a similar problem last year. How can you hold a festival in the midst of such a shortage? Do you have anything to say to the Nepali festival organizers? These are common problems for all festivals. Around 20,000 film-related people come to Berlinale, and we screen three hundred films. We organize programs at a slightly different level every year. Berlinale is actually quite large. But, as we are getting larger, the financial problem seems to be the same. How to balance the expenses, how to raise resources? Because it is not possible to organize such a huge festival without financial support. So, as an organizer, I would like to suggest that you start the festival on a small scale first, and then gradually grow. Don't think of expanding it all at once. I think that even a small festival with seven/ten films can bring together film lovers.