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Society’s unifying themes had unravelled and vested interests governed and dominated – and the programme of the 67th Berlinale reacted accordingly.

“A spectre is haunting us – and not just in Europe.

At the beginning of the festival, Dutch director and President of the International Jury Paul Verhoeven declared he would not reward any film simply for having a political content.

Cinematic art, the aesthetics, would be the deciding factor.

A textbook example of this was delivered by Aki Kaurismäki in the Competition.

A way out of this confusion was offered by a look back and an analysis of the historical developments which led to this current impasse.

In the Competition with Viceroy’s House, Gurinder Chadha traced the colonialism which was the original driving force behind both capitalism and globalisation.

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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