{"id":416483,"date":"2026-04-21T17:29:15","date_gmt":"2026-04-21T17:29:15","guid":{"rendered":"https:\/\/ucm.one\/%f0%9f%8e%ac-breaking-the-stigma-panel-discussion-at-the-achtung-berlin-film-festival\/"},"modified":"2026-04-22T15:54:52","modified_gmt":"2026-04-22T15:54:52","slug":"breaking-the-stigma-panel-discussion-at-the-achtung-berlin-film-festival","status":"publish","type":"post","link":"https:\/\/ucm.one\/en\/breaking-the-stigma-panel-discussion-at-the-achtung-berlin-film-festival\/","title":{"rendered":"\ud83c\udfac \u201eBreaking the Stigma&#8221; \u2014 Panel discussion at the achtung berlin film festival"},"content":{"rendered":"<div class=\"wpb-content-wrapper\"><p>[vc_row][vc_column][vc_column_text css=&#8221;&#8221;]<\/p>\n<div style=\"text-align: justify;\">In the <strong>Green Salon<\/strong> of the <strong>Volksb\u00fchne am Rosa-Luxemburg-Platz<\/strong> \u2014 that roughly 200-square-meter salon space from the early 1950s reconstruction, whose oval glass chandeliers, heavy velvet curtains, and mirrored wall still evoke the 1920s flair of the Kaufmann Building \u2014 the panel discussion <strong>\u201cBreaking the Stigma\u201d<\/strong> took place on <strong>Monday, April 20, 2026, <\/strong> as part of the <strong>achtung berlin Industry Days<\/strong> the panel discussion <strong>\u201cBreaking the Stigma\u201d<\/strong> took place.<\/div>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=&#8221;2\/3&#8243;][vc_column_text css=&#8221;&#8221;]<\/p>\n<div style=\"text-align: justify;\">The event was initiated and co-organized by <span style=\"font-family: 'arial black', sans-serif;\">UCM.ONE<\/span> \/ <strong>Darling Berlin<\/strong>; the discussion was moderated by <strong>Karoline R\u00f6\u00dfler<\/strong>, who was herself represented in the festival\u2019s Berlin Special program with the documentary <strong>INTERSECTION \u2014 EVERYTHING IS POLITICAL<\/strong>. The session was billed as a discussion on how films challenge prejudices. What emerged over the course of nearly ninety minutes was, above all, a striking shift away from the initial question: a panel that conspicuously resisted allowing their own films to be defined by the expectation of pedagogical clarity.<\/div>\n<p>[\/vc_column_text][vc_column_text css=&#8221;&#8221;]<\/p>\n<div style=\"text-align: justify;\">\n<h3>The Panel<\/h3>\n<p>On the panel were the moderator and three directors presenting their latest festival entries:\\<\/p>\n<ul>\n<li><strong>Karoline R\u00f6\u00dfler<\/strong> (Moderator) \u2014 Director of <strong>INTERSECTION \u2014 EVERYTHING IS POLITICAL<\/strong>, graduation film at the <strong>Konrad Wolf Film University Babelsberg<\/strong>, to be screened in 2025 at <strong>DOK Leipzig<\/strong> and awarded the <strong>\u00a0film.land.sachsen &#8211; Prize for Film Culture in Rural Areas<\/strong>, in the <strong>Berlin Special Program<\/strong>.<\/li>\n<li><strong>Ina Balon<\/strong> \u2014 <strong>PLAN F<\/strong>, feature film debut in the <strong>Feature Film Competition<\/strong>, at the <strong>Hofer Filmtage 2025<\/strong> awarded the <strong>Friedrich Baur Gold Prize<\/strong> (best directorial achievement in a first feature film) and the <strong>Hof Critics\u2019 Award<\/strong>.<\/li>\n<li><strong>Yann Rehberg<\/strong> \u2014 <strong>VOM B\u00d6SEN BLICK<\/strong>, medium-length graduation film from the <strong>Film University Babelsberg KONRAD WOLF<\/strong>, in the <strong>Medium-Length Film Competition<\/strong>.<\/li>\n<li><strong>Ali Tamim<\/strong> \u2014 <strong>NOAH<\/strong>, feature film debut in the <strong>Feature Film Competition<\/strong>, at the <strong>Max Oph\u00fcls Prize<\/strong> Film Festival, where it received awards for <strong>Best Screenplay<\/strong> and <strong>Socially Relevant Film<\/strong>.<\/li>\n<\/ul>\n<\/div>\n<div>\n<div>\n<div style=\"text-align: justify;\">\n<div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>[\/vc_column_text][\/vc_column][vc_column width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;416422&#8243; img_size=&#8221;full&#8221; add_caption=&#8221;yes&#8221; css=&#8221;&#8221;][\/vc_column][\/vc_row][vc_row][vc_column width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;416424&#8243; img_size=&#8221;full&#8221; add_caption=&#8221;yes&#8221; css=&#8221;&#8221;][\/vc_column][vc_column width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;416426&#8243; img_size=&#8221;full&#8221; add_caption=&#8221;yes&#8221; css=&#8221;&#8221;][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text css=&#8221;&#8221;]<\/p>\n<div style=\"text-align: justify;\">\n<p style=\"text-align: justify;\">In his opening remarks, festival director <strong>Sebastian Brose<\/strong> expressly thanked <strong>Tone Frede<\/strong> (<span style=\"font-family: 'arial black', sans-serif;\">UCM.ONE<\/span><strong> \/ Darling Berlin<\/strong>) for the initiative and for helping shape the panel\u2019s themes. <strong>Frede<\/strong> took charge of the audience microphone during the audience discussion.<\/p>\n<\/div>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;416428&#8243; img_size=&#8221;full&#8221; add_caption=&#8221;yes&#8221; css=&#8221;&#8221;][vc_single_image image=&#8221;416430&#8243; img_size=&#8221;full&#8221; add_caption=&#8221;yes&#8221; css=&#8221;&#8221;][\/vc_column][vc_column width=&#8221;2\/3&#8243;][vc_column_text css=&#8221;&#8221;]<\/p>\n<div style=\"text-align: justify;\">\n<h3>Attitude, Not Program<\/h3>\n<p>Following the cinematic opening featuring clips from all four works,<strong> R\u00f6\u00dfler<\/strong> led the discussion on the question of how the panelists themselves feel about the topic \u201c<strong>Breaking the Stigma<\/strong>\u201d: whether they enjoy discussing films from this perspective\u2014or if they would actually prefer to talk about the content. <strong>Ali Tamim<\/strong> answered the question with a personal revelation: He said he had to be persuaded to participate in the panel at all, out of concern that he might end up in a role that the industry has been assigning him for years\u2014that of the author who constantly cries out about how unjust everything is. He is not an activist, but a director and screenwriter; the political stance remains inherent to his films as long as it is necessary.<\/p>\n<p><strong>Yann Rehberg<\/strong>, represented on the panel with his graduation film \u201c<strong>Vom b\u00f6sen Blick<\/strong>,\u201d agreed with <strong>Tamim<\/strong> and articulated one of the most precise distinctions of the afternoon\u2014calmly, without any exaggeration:<\/p>\n<p><em>\u201cI didn\u2019t think to myself at the beginning: \u2018Oh wow, this is really going to break down the stigmas.\u2019 Not for a single second, actually. Rather, it\u2019s an attitude\u2014how you view the world and how you then write characters and how you direct them.\u201d<\/em><\/p>\n<p><em>\u2014 Yann Rehberg, director of \u201cVom b\u00f6sen Blick\u201d<\/em><\/p>\n<p>\u201c<strong>Vom b\u00f6sen Blick<\/strong>,\u201d produced in co-production with <strong>RBB<\/strong>, is set in a youth club where an unproven allegation of abuse is making the rounds and is neither clarified nor refuted. The story is told from the perspective of a social worker who must decide whom to believe\u2014and who never makes that decision by the end. What breaks down in his film, says<strong> Rehberg<\/strong>, is not primarily the individual, but rather the social space that supported both sides. The youth club becomes the true collateral damage.<\/p>\n<\/div>\n<p>[\/vc_column_text][vc_column_text css=&#8221;&#8221;]<\/p>\n<div style=\"text-align: justify;\"><strong>R\u00f6\u00dfler&#8217;s<\/strong> own film, &#8220;<strong>Intersection \u2014 Everything Is Political<\/strong>,&#8221; produced by <strong>supa Stories GmbH<\/strong>, takes a different approach: The documentary comes with a mobile game as a conversation starter\u2014a small town character who experiences privileges or disadvantages depending on their appearance and traits. Around the gaming experience, <strong>R\u00f6\u00dfler<\/strong> features studio conversations with activists from progressive circles who discuss their anti-discrimination work. What the film seeks is less an explanatory solution than a shared understanding of what might come after \u201cdestroy and rebuild.\u201d<\/div>\n<div>\n<div>\n<div style=\"text-align: justify;\">\n<div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;416439&#8243; img_size=&#8221;full&#8221; add_caption=&#8221;yes&#8221; css=&#8221;&#8221;][\/vc_column][vc_column width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;416436&#8243; img_size=&#8221;full&#8221; add_caption=&#8221;yes&#8221; css=&#8221;&#8221;][\/vc_column][\/vc_row][vc_row][vc_column width=&#8221;2\/3&#8243;][vc_column_text css=&#8221;&#8221;]<\/p>\n<div style=\"text-align: justify;\">\n<h3>Key question: Who should be the one to raise awareness?<\/h3>\n<p><strong>R\u00f6\u00dfler<\/strong> had already posed the question to the group earlier, without attempting to answer it herself: Whose responsibility is it, really, to break a stigma\u2014that of the artists who make films about it, or that of a society that speaks about itself? She deliberately left the answer open, inviting the audience to join the discussion\u2014and the two sides of the debate immediately clashed.<\/p>\n<p>One audience member picked up on<strong> Tamim\u2019s<\/strong> personal disclosure from the first part of the panel and turned it around: Anyone who makes such a film and is invited to a discussion like this must also be willing to speak out; otherwise, no stigma will be broken. <strong>Tamim<\/strong> replied pointedly:<\/p>\n<p><em>\u201cAnd can we take a break sometimes? Can we just make movies and can we just talk about the beauty of trees, or do we have to speak up all the time and say, \u2018This is who we are, we are victims, we are victims, you are making us victims\u2019?\u201d<\/em><\/p>\n<p><em>\u2014 Ali Tamim, director of \u201cNoah\u201d<\/em><\/p>\n<p>A second audience member provided the way out of this apparent dilemma. She explicitly referred to the previous speaker, agreed with her \u201ccompletely\u201d that society as a whole must be involved in the issue\u2014and articulated in a single sentence the boundary that <strong>Tamim<\/strong> had been seeking:<\/p>\n<p><em>\u201cBut it shouldn\u2019t be their life\u2019s work. So you shouldn\u2019t expect that if you have certain stigmas, certain experiences of discrimination, that you simply have to constantly point them out and try to make the world a better place.\u201d<\/em><\/p>\n<p><em>\u2014 From the audience<\/em><\/p>\n<p>Two voices from the audience, both worthy of agreement, neither against the other\u2014and in between, a panel discussion that was not forced to pit one against the other. \u00a0The fact that this moment came not from the moderator but from the audience allowed the debate to conclude in a way that cannot be staged, but is made possible only through open dialogue\u2014as <strong>R\u00f6\u00dfler<\/strong> facilitated that afternoon.<\/p>\n<p>Later in the panel, as the audience questions continued, <strong>Tamim<\/strong> found the phrase for this stance that would stick with us that afternoon:<\/p>\n<p><em>\u201cAnyone who is an asshole and a misanthrope and goes into my film will remain an asshole and a misanthrope even after this film. And that\u2019s why it\u2019s very, very important to me not to make a film for this asshole, but to make a film for us.\u201d<\/em><\/p>\n<p><em>\u2014 Ali Tamim, director of \u201cNoah\u201d<\/em><\/p>\n<p>What <strong>Tamim<\/strong> went on to explain was less a specific agenda than the core of his work: characters who live in worlds that oppress them\u2014and who then seize the power to rebel against them. \u201cSelf-empowerment,\u201d said <strong>Tamim<\/strong>, is for him the key word of his creative work.<\/p>\n<p>\u201c<strong>Noah<\/strong>,\u201d produced by <strong>Schuldenberg Films<\/strong> in co-production with the <strong>Film University Babelsberg KONRAD WOLF<\/strong> and <strong>RBB (Leuchtstoff)<\/strong>, tells the story of the circle of people surrounding a young man who lost his life during a police stop and remains present in the film only through his absence. Three storylines revolve around this central figure: Noah\u2019s mother, who, on her way to the hospital, is thwarted by bureaucratic hurdles that prevent her from even saying goodbye to her son; a group of police officers, including Ibrahim, who struggles between his identity as a migrant and his identity as a police officer; and Malek and Musa from Noah\u2019s neighborhood, who function in the film as an angry, associative meta-level.<\/p>\n<\/div>\n<div>\n<div>\n<div style=\"text-align: justify;\">\n<div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>[\/vc_column_text][\/vc_column][vc_column width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;416442&#8243; img_size=&#8221;full&#8221; add_caption=&#8221;yes&#8221; css=&#8221;&#8221;][vc_single_image image=&#8221;416444&#8243; img_size=&#8221;full&#8221; add_caption=&#8221;yes&#8221; css=&#8221;&#8221;][vc_single_image image=&#8221;416446&#8243; img_size=&#8221;full&#8221; add_caption=&#8221;yes&#8221; css=&#8221;&#8221;][\/vc_column][\/vc_row][vc_row][vc_column width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;416451&#8243; img_size=&#8221;full&#8221; add_caption=&#8221;yes&#8221; css=&#8221;&#8221;][\/vc_column][vc_column width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;416454&#8243; img_size=&#8221;full&#8221; add_caption=&#8221;yes&#8221; css=&#8221;&#8221;][\/vc_column][\/vc_row][vc_row][vc_column width=&#8221;2\/3&#8243;][vc_column_text css=&#8221;&#8221;]<\/p>\n<div style=\"text-align: justify;\">\n<h3>Production Reality<\/h3>\n<p>\u201c<strong>Plan F<\/strong>\u201d follows sisters Franka and Maya\u2014the loud one and the quiet one\u2014on a nocturnal odyssey through Berlin: Maya, in the midst of a deep depression, is staying with her parents in the countryside; Franka stumbles into her life there and drags her along on a road trip by car and S-Bahn, through the bars at Kottbusser Tor. What initially looks like a rescue mission by the supposedly resilient one takes a turn: Little by little, it becomes clear that Franka, too, is merely asserting her plan rather than having one\u2014and that both of their lives are on the brink of failure.<\/p>\n<p><strong>Ina Balon<\/strong> brought to the table the part of the conversation that funding committees like to brush aside in their rejections. Her feature film debut\u2014produced by <strong>Ina Balon <\/strong>and <strong>Jannik B\u00fcddig (ZAK Film Productions)<\/strong>\u2014is entirely self-financed, because scripts had been submitted and rejected for three years. After attending the 2024 Munich Film Festival, she decided she wouldn\u2019t wait any longer. She describes her main characters, Franka and Maya, played by <strong>B\u00e4rbel Schwarz<\/strong> and <strong>Ursula Renneke<\/strong>, as women rarely seen in German cinema:<\/p>\n<p><em>\u201cThat they\u2019re just the way women are when they\u2019re in their mid-40s. And that they\u2019re allowed to fail, too. We\u2019re always expected to be strong. Of course we\u2019re strong, sure, but many of us fail as well. And you don\u2019t see that often.\u201d<\/em><\/p>\n<p><em>\u2014 Ina Balon, director of \u201cPlan F\u201d<\/em><\/p>\n<p>When asked by the moderator where she found the perseverance to continue without a funding commitment, <strong>Balon<\/strong> replied briefly and without pretense: \u201cBecause I have to do it. It\u2019s just inside me; I have to do it.\u201d The fact that she subsequently assured us she would \u201cunder no circumstances\u201d want to shoot her next film without funding again\u2014because she owes it to those involved to be able to pay them\u2014rounded out an observation that lay like a bass line beneath the conversation that afternoon: that films like these in the German system often come into being <em>in spite of<\/em> the structures rather than being facilitated by them.<\/p>\n<\/div>\n<p>[\/vc_column_text][\/vc_column][vc_column width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;416456&#8243; img_size=&#8221;full&#8221; add_caption=&#8221;yes&#8221; css=&#8221;&#8221;][vc_single_image image=&#8221;416458&#8243; img_size=&#8221;full&#8221; add_caption=&#8221;yes&#8221; css=&#8221;&#8221;][\/vc_column][\/vc_row][vc_row][vc_column width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;416461&#8243; img_size=&#8221;full&#8221; add_caption=&#8221;yes&#8221; css=&#8221;&#8221;][\/vc_column][vc_column width=&#8221;2\/3&#8243;][vc_column_text css=&#8221;&#8221;]<\/p>\n<div style=\"text-align: justify;\">\n<h3>Audience Discussion: Funding, Editing, Distribution<\/h3>\n<p>Questions from the audience quickly shifted the discussion away from the immediate context of the film. How do you deal with producers who dominate their own material? What role do editorial teams play when it comes to socially critical topics? And how does a mid-length film, a documentary, or a debut film without a distribution network even find its audience?<br \/>\n<strong>Tamim<\/strong> recalled a\u2014very politely worded\u2014rejection from ZDF regarding \u201c<strong>Noah<\/strong>\u201d: They loved the script, but police violence was \u201cnot a German topic\u201d; if the police were made a bit more approachable, the film could \u201cbecome German.\u201d<strong> Balon<\/strong> spoke of a project from two years prior about police violence and soccer hooligans, which an editorial team had rejected by asking why a woman would even want to make such a \u201cviolent men\u2019s film.\u201d And when <strong>Tamim<\/strong> later referred to the production conditions of the Neue Deutsche Welle\u2014citing interviews with Wim Wenders, who at the time had needed four films to find his stylistic voice\u2014this aside contained an observation that lingered palpably in the room: that today\u2019s market barely allows emerging filmmakers the privilege of first experimenting and finding their way.<\/p>\n<p>The topic of <strong>Impact Producing<\/strong>, which had been discussed the previous day at another panel, also took up a brief side thread. A member of the audience, herself an actress and impact coordinator, warned against placing the burden of impact campaigns on the shoulders of directors: Such a campaign requires \u201ca completely separate department\u201d\u2014a position that R\u00f6\u00dfler confirmed from her own experience with her documentary film.<\/p>\n<\/div>\n<div>\n<div>\n<div style=\"text-align: justify;\">\n<div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;416463&#8243; img_size=&#8221;full&#8221; add_caption=&#8221;yes&#8221; css=&#8221;&#8221;][\/vc_column][vc_column width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;416466&#8243; img_size=&#8221;full&#8221; add_caption=&#8221;yes&#8221; css=&#8221;&#8221;][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text css=&#8221;&#8221;]<\/p>\n<div style=\"text-align: justify;\">\n<h3>Festival Partnership<\/h3>\n<p>For the eleventh consecutive year, <span style=\"font-family: 'arial black', sans-serif;\">UCM.ONE<\/span> \/ <strong>Darling Berlin<\/strong> is an official partner of the achtung berlin film festival; <span style=\"font-family: 'arial black', sans-serif;\">UCM.ONE<\/span> is once again sponsoring the Best Acting Award, worth 1,000 euros. This year, the label is also represented in the feature film competition with \u201c<strong>Plan F<\/strong>\u201d and initiated the panel \u201cBreaking the Stigma,\u201d which it organized in collaboration with the festival management. \u201c<strong>Plan F<\/strong>\u201d by <strong>Ina Balon<\/strong> will be released in theaters at the end of 2026 via the <span style=\"font-family: 'arial black', sans-serif;\">UCM.ONE<\/span> film label <strong>Darling Berlin<\/strong>.<\/p>\n<\/div>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator css=&#8221;&#8221;][\/vc_column][\/vc_row][vc_row css=&#8221;.vc_custom_1768590775216{margin-bottom: -20px !important;background-color: #EAEAEA !important;}&#8221;][vc_column][vc_empty_space height=&#8221;22px&#8221;][vc_column_text css=&#8221;.vc_custom_1776871801622{padding-bottom: -25px !important;}&#8221;]<\/p>\n<div class=\"wpb_text_column wpb_content_element \">\n<p><span style=\"font-size: 14pt;\">At a glance: The panel overview<\/span><\/p>\n<table style=\"border-collapse: collapse; width: 100%; height: 352px;\">\n<tbody>\n<tr style=\"height: 22px;\">\n<td style=\"width: 14.487%; height: 22px; vertical-align: top;\"><strong>Title:<\/strong><\/td>\n<td style=\"width: 85.513%; height: 22px; vertical-align: top;\">Breaking the Stigma \u2014 Panel Discussion<\/td>\n<\/tr>\n<tr style=\"height: 22px;\">\n<td style=\"width: 14.487%; height: 22px; vertical-align: top;\"><strong>Date &amp; Time:<\/strong><\/td>\n<td style=\"width: 85.513%;\" width=\"288\">Monday, April 20, 2026, 4:30\u20136:00 PM<\/td>\n<\/tr>\n<tr style=\"height: 22px;\">\n<td style=\"width: 14.487%; height: 22px; vertical-align: top;\"><strong>Location:<\/strong><\/td>\n<td style=\"width: 85.513%; height: 22px; vertical-align: top;\">Gr\u00fcner Salon, Volksb\u00fchne at Rosa-Luxemburg-Platz, Berlin<\/td>\n<\/tr>\n<tr style=\"height: 22px;\">\n<td style=\"width: 14.487%; height: 22px; vertical-align: top;\"><strong>Context:<\/strong><\/td>\n<td style=\"width: 85.513%; height: 22px; vertical-align: top;\">achtung berlin film festival 2026 \u2014 Industry Days (Day 4)<\/td>\n<\/tr>\n<tr style=\"height: 22px;\">\n<td style=\"width: 14.487%; height: 22px; vertical-align: top;\"><strong>Initiative &amp; Co-Organization:<\/strong><\/td>\n<td style=\"width: 85.513%; height: 22px; vertical-align: top;\"><span style=\"font-family: 'arial black', sans-serif;\">UCM.ONE<\/span> \/ Darling Berlin<\/td>\n<\/tr>\n<tr style=\"height: 22px;\">\n<td style=\"width: 14.487%; height: 22px; vertical-align: top;\"><strong>Panelists:<\/strong><\/td>\n<td style=\"width: 85.513%; height: 22px; vertical-align: top;\">Ina Balon (\u201cPlan F,\u201d Feature Film Competition), Yann Rehberg (\u201cVom b\u00f6sen Blick,\u201d Medium-Length Film Competition), Ali Tamim (\u201cNoah,\u201d Feature Film Competition), Moderator: Karoline R\u00f6\u00dfler (\u201cIntersection &#8211; Alles ist politisch,\u201d Berlin Special Program)<\/td>\n<\/tr>\n<tr style=\"height: 22px;\">\n<td style=\"width: 14.487%; height: 22px; vertical-align: top;\"><strong>Welcome Address<\/strong><\/td>\n<td style=\"width: 85.513%; height: 22px; vertical-align: top;\">Sebastian Brose (Festival Director, achtung berlin)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<\/div>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator css=&#8221;&#8221;][\/vc_column][\/vc_row][vc_row][vc_column][vc_video link=&#8221;https:\/\/www.youtube.com\/watch?v=t88__pkjjXg&#8221; css=&#8221;&#8221; title=&#8221;Achtung Berlin Filmfestival 2026 | festival trailer (german) \u1d34\u1d30&#8221;][\/vc_column][\/vc_row][vc_row][vc_column width=&#8221;1\/2&#8243;][vc_column_text]More information about the festival and the program: <a title=\"\" href=\"https:\/\/achtungberlin.de\/\" target=\"_blank\" rel=\"noopener\">achtung berlin<\/a>[\/vc_column_text][\/vc_column][vc_column width=&#8221;1\/2&#8243;][vc_column_text]More information about the film label: <a title=\"Darling Berlin\" href=\"https:\/\/ucm.one\/en\/film-labels\/darling-berlin\/\" rel=\"noopener\">Darling Berlin<\/a>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>[vc_row][vc_column][vc_column_text css=&#8221;&#8221;] In the Green Salon of the Volksb\u00fchne am Rosa-Luxemburg-Platz \u2014 that roughly 200-square-meter salon space from the early 1950s reconstruction, whose oval glass chandeliers, heavy velvet curtains, and mirrored wall still evoke the 1920s flair of the Kaufmann Building \u2014 the panel discussion \u201cBreaking the Stigma\u201d took place on Monday, April 20, 2026,&hellip;<\/p>\n","protected":false},"author":513,"featured_media":416488,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[5599,942,4630,941],"tags":[19547,19354,4385,12253,19555,3404,19535,3405,10211,12252,19546,19556,19558,19557],"class_list":["post-416483","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-company-en","category-film-en","category-movie-distribution","category-news-en","tag-plan-f","tag-19354","tag-achtung-berlin-en","tag-achtung-berlin-fimfestival-en","tag-ali-tamim","tag-berlin-en","tag-breaking-the-stigma","tag-darling-berlin-en","tag-filmfestival-2","tag-filmfestival-en","tag-ina-balon","tag-karoline-rosler","tag-volksbuhne","tag-yann-rehberg","category-5599","category-942","category-4630","category-941","description-off"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - 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