Another day, more layoffs hit the journalistic world. The Washington Post culled 300 positions from its pay roll in cost cutting measures. Earthquakes shake every corner of the profession as publications struggle in the New Media Age. Conversation after conversation paints a dire picture. Publications no longer want the expense of covering events, searching for ways to stay in the black. This new bottom line emphasis applies to film reviewers. The Berlinale rolls into town this week with some stars pickled here and there, but without A list or click bait titles. This does not bode well for entertainment writers making Potsdamer Platz their home this coming week.
The recent newspaper interview with fest head Tricia Tuttle pointedly asked a question concerning shrinking budgets and journalist covering the Berlinale. Publishers are no longer willing to approve pricey assignments. The expense of fielding a ten-day film gathering can run deep, averaging in the thousands. Film industry trade papers and sites no longer dispatch teams to glitzy movie acetate unspoolings. Instead, outsourcing coverage to local freelancers. Further pressures include AI and data driven features could prove to be the nail in the coffin for live estival gatherers.
The other new reality, many newspapers no longer have full time film critics. The Siskels, Eberts, and Kaels of the past got replaced by fast, grabbed the attention one minute video reviews on social media.
One of the perks of going to films is the possibility of rubbing shoulders with talent. Yet today, the lack of talent engagement has become a problem. The odds of winning a Christmas Lottery are better than scoring an interview with a topline actor or actress. At Cannes Film Festival 2025, media attendees complained about the difficulties of securing talks with filmmakers who preferred sipping cocktails on yachts rather than taking questions with the press.
The 76th Berlinale commences on February 12th, but as the solid B Level cinema get together readies the Red Carpet, what will be the return on investment for journalists? The ballyhooed Competition Section looks too artsy for a breakout feature. Translated, selling a story on films with a potential audience reach of 26.000 admissions could prove challenging.
Perhaps the media accreditation did us a favor by telling us they “received a lot of requests” regarding press coverage, they had no space for us. Hopefully, if we apply again, the Berlinale media team can make up a better reason to reject our request. After all, honesty is the best policy. Or at the very least have a reason not contradicted by their boss in PR interview.
Taking solace by paraphrasing the expression “Money saved by not covering the Berlinale is money earned.”