Art without politics? That’s a dangerous silence. Renowned author Arundhati Roy has dramatically withdrawn from the Berlin International Film Festival (Berlinale) after its jury president, filmmaker Wim Wenders, controversially declared that filmmakers should ‘stay out of politics.’ This statement, made during the festival’s opening press conference, ignited a firestorm of debate, with Roy calling it ‘unconscionable’ and a direct attempt to stifle crucial conversations about global injustices.
The controversy began when Wenders, responding to a question about the role of film in political change, asserted that while ‘movies can change the world,’ they should not do so ‘in a political way.’ He elaborated, ‘Filmmakers must stay out of politics because once we create overtly political films, we step into the political arena. But our role is to be the counterweight to politics, not to engage in it. We must serve the people, not the politicians.’ But here’s where it gets controversial: Is it truly possible—or even ethical—for art to exist in a political vacuum? And this is the part most people miss: by avoiding politics, aren’t artists implicitly endorsing the status quo?
Roy, whose restored 1989 film In Which Annie Gives It Those Ones was set to screen at the festival, was appalled. In her withdrawal statement, she expressed shock that such a sentiment could reach ‘millions across the world.’ The Booker Prize-winning author argued, ‘To suggest that art should not be political is jaw-dropping. It’s a way of silencing discussions about crimes against humanity, even as they unfold in real time. Artists, writers, and filmmakers have a moral obligation to speak out—to do everything in their power to halt such atrocities.’
Roy’s frustration is deeply personal. She has been vocal about her concerns regarding the German government’s stance on Palestine, particularly its support for Israel. Yet, she noted, ‘I’ve always found political solidarity among German audiences when discussing the genocide in Gaza.’ Boldly, she asks: ‘If the greatest filmmakers and artists of our time remain silent, how will history remember them?’
The Berlinale jury, which includes prominent figures like Reinaldo Marcus Green, Hikari, and Ewa Puszczyńska (producer of the Oscar-winning The Zone of Interest), found itself in the hot seat when questioned about Germany’s financial and political support for Israel. Puszczyńska called the question ‘complicated’ and ‘a bit unfair,’ adding, ‘We aim to provoke thought, but we can’t control whether viewers support Israel or Palestine. There are countless other wars and genocides we don’t discuss.’ But is that enough? Should artists and filmmakers prioritize neutrality over accountability?
Roy’s stance is unequivocal. She believes the situation in Gaza constitutes ‘a genocide of the Palestinian people by the state of Israel,’ supported and funded by the U.S., Germany, and other European nations. ‘Their complicity is undeniable,’ she stated. ‘If artists fail to condemn this, they are complicit too. I am shocked and disgusted.’
Reflecting on her film’s inclusion in the festival’s Classics section, Roy described In Which Annie Gives It Those Ones as ‘a whimsical piece I wrote 38 years ago—something sweet and wonderful.’ Yet, the sweetness of her art stands in stark contrast to the bitterness of the current debate.
Controversy & Comment Hooks: Is Wenders right to insist that art and politics should remain separate? Or does Roy’s stance—that art must engage with the world’s injustices—hold more weight? And what responsibility do filmmakers and artists bear in times of crisis? Share your thoughts below—this is a conversation that demands to be had.
